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Theses : Honours Theses

2015

From Artefact Design to Service Design Thinking Innovations

Erica Ormsby Edith Cowan University

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This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. If the user desires to publish a paper or written work containing passages copied or closely paraphrased from this thesis, which passages would in total constitute and infringing copy for the purpose of the Copyright Act, he or she must first obtain the written permission of the author to do so. From Artefact Design to Service Design Thinking Innovations

Bachelor of Creative Industries Honours by Erica Ormsby Supervisor: Dr Stuart Medley Submitted: 1st June 2015

Edith Cowan University Faculty of Education and Arts School of Communication and Arts

Innovations Thinking ign Des Service From Artefact to Design

Graphic Design Thinking in the Service Design Context PH.1 PH.2

PH.3 PH.4

PH.5 What’s inside

Abstract 5

Introduction 7 A Place to Start 9 Significance 13 Aim & Research Questions 14 Methodology 15 Research Plan of Action 18

Chapter 1: What on earth do we do? The current role of Graphic Design 21

Chapter 2: That’s not your problem: Evaluating Project Issues 32 Service Design Method 1: Empathy 35 Service Design Method 2: Redefinition of Project Issues 39 Service Design Method 3: Co-design 42

Chapter 3: Many hands make light work: Additional Disciplines + Communicating the Concept 47 Service Design Method 4: Prototyping 49 Service Design Method 5: Visual Organisation of Information 53 Service Design Method 6: Multi-Disciplinary Design Structures 58

Chapter 4: The Pretty Things: Live Service Design Project Results 61 Service Design Method 7: Touchpoints 63

Conclusions: The Round Up 77

References: Who said what and who owns what? 83 Literary References 84 Photographic References 87 Diagrams 88 6 Abstract “I have learned questions” questions and ask better to askmore a designbrief?: Has questioning the brief changed how you approach at all. disciplines soasto deeplyinvestigate isneededorwhetherit whatproduct orservice designthinkingstructureapproach. incorporates Thisservice graphic designersalongsideother throughproducts positiveuser/customer andservices experiences viaamulti-disciplinary design,anemergingThe key fieldofdesign,advocate theoristsofservice theinnovationof itproduces andnottheskillsfrom whichtheseproductsby theartifacts are derived. outcomes shouldbevocalized (p.535).Theperceptions ofgraphic design havebeendetermined system ofcreativefact thepowerful tools incorporated to developeffectivevisualcommunication thatgraphic designershavebeendepictedasserts asmerely makingproducts ‘lookgood’butin sectors. Cameron Tonkinwise (2011),Director ofDesignStudies atCarnegie MellonUniversity, specialised skillsetwhichcanbeutilized byabroad range andcommunitybusiness ofindustry The fieldofgraphic designisonethathashistorically itselfasofferinga battledto assert design context andfrom this,howinnovated outcomesare reached. orientatedlive service project inorder to assesshow graphic designskillsfitwithin aservice designprocesses willalsobeappliedtodesign methods.Inaddition,theseservice acomplex processes aswellalterationsdisciplinary to thosepractices viatheintroduction ofservice designprocesses themselves.Thisthesiswillexamineservice establishedgraphic design andcommunitybasedprojects inPerth,industry Western Australia, andperhapsevenenrich instead canplayasignificant role amonglarger inthe innovationofproducts andservices designers, andwhethergraphic designersare limited to or thedesignofephemeral artifacts This research willexplore designmethodsto theeffectofintroduction ofservice graphic Abstract

7 Abstract PH.6 PH.7 PH.8

PH.9 PH.10 PH.11

PH.12 PH.13 PH.14 Introduction A Place to Start... A Place to

9 PH.15

PH.16 PH.17

PH.18 approach of service design refersapproach to ofservice theprocess ofdesignrather thanitsoutcome”(p.14). that,“The DesignThinking, assert Stickdorn &Schneider(2011),authors ofThisisService graphic designerswithinthisarrangement aswellhowuserenrichedexperiences are reached. design project suchastheSCA 2014Graduate Exhibition, Ihopeto uncover the ofimpacts designmethodologytoholistically drivendesignoutcomes.Byemployingservice asubstantial focused approach, whichinvestigates complex communitybasedissuesinorder to deliver user designismulti-disciplinary atECU). Service SCA (SchoolofCommunicationsandArts explore graphic designthrough designanditsrole amajorexhibition inservice project forthe thinking. However, to thoroughly test designsystem thisservice inreal lifeterms, Iwillalso career inofferinggraphic andhowgraphic design designservices), designcanenrichservice practices ofup-and-cominggraphic designers(orstudentsontheprecipice ofcommencinga throughout mymethodology. From this,Iwillinvestigatedesigncan changethe howservice designmethodswillalso enablemetoDefining service apply these practices consistently order to analysetherole ofthegraphic designeramongthese. Therefore, myproject willseektodesignpractices establishaworkingdefinitionofservice in of governmentsandbigbusinesswhilegraphic designseemsto continueonitshumblepath. term thatseemsto havearrivedhandinwith‘designthinking’hascaptured theimagination such aslogos,flyers,brochures, websites design,arelatively andsignage.Even recent service instead, seemto beconnected associated onlywithartefacts withcommercial businessneeds for example, create interactive humanspaceswithinourcitiesandtowns. Graphic designers, glance,seemto belimiteddesign outcomes,ifgivenacursory to ephemera. Urbandesigners, creative communicationskillsetis.From myperspective,oneofthekey issuesisthatgraphic Graphic designershowever, haveconstantlystruggledto theirspecialised vocalize howimportant methods, whichcanbeappliedto myriaddesignprojects. discipline overtime.Theresults ofwhichare aspecializationofcommunicationskillsandcreative design practices to successfullytransition wasnecessary through majorchangeswithinthis has continuouslyadapted thewayinwhichithasworked. Thecontinuousrefinement ofgraphic AddisonDwiggins,arevered bookdesigner(Meggs,1998,p.xiii),thisdesignfieldby William trademarks, patents andswiftlegalaction.Sincethefirstuse oftheterm ‘graphic design’in1922 Coca ColaCompany, AppleInc.and Nike, Inc.,which thesecompaniesfiercely protect through and visualtechniques ofgraphic designershavehelped formiconicglobalidentitiessuchasThe incivilization,suchasbooks.Thedefinitivecreative skillsconsidered among themostimportant Throughout history, graphic designershavecontributed to designoutcomeswhichare A Placeto Start... 11 Introduction A Place to Start 12 Introduction A Place to Start to designaproduct andthenattempt to sell itto theindividualwho mightuseit.Instead, service design thinking,unlike traditionalService graphic designpractices, doesn’tautomatically assume consider valuablewithregards tobasedinteractions. service ‘touchpoints’ inanattempt to thoroughly understand whothecustomers are andwhat theymight thinking instead focusesitsattention uponthecustomer oruserandtheirexperiences ofthese designcreating theworldofunsustainablemassconsumptionthatwelivein”(p.62). Service to shiftdesignersawayfrom theirtraditional preoccupation withobjectsandtheirroles inco- DesignataCrossroads”, “Service thinking. Inherjournalarticle, Kimbellcontends “itisgoing design author, design LucyKimbell(2011),joinsthisongoingglobaldialogueaboutservice The international designcommunityisdebatingthispushforchange,andprominent graphic scenario, cangenerate positiveuserexperiences ofthiscompany. optionssuchasdemonstratedOffering usersanholisticallydesignedselectionofservice inthis designed touchpoints are creatively formulated to encapsulate thisfinancialinstitutions’ideology. verbal responses whichare heard whenusingtelephone banking.These connected service banking website, touch designedinteractions phoneapplicationandheardesigned initssmart Users gatherexperiences ofthisbankwhentheyseethecoloursbankslogoinitsinternet of bankingchannels,are becomingmore familiarwiththisbanksidentityandcompanyethos. not onlyhavemore optionsto complete bankingtransactions but,duringthisbroadened range statement delivery. However, through anewlyavailableextended range oftouchpoints, userscan These touchpoints were previously limited interms ofabank’s trading hoursandmonthly phoneapplicationbanking,telephone bankingandsoon.smart finance drivencommunicativechannelsincluderecognizable outputssuchasinternet banking, (Enninga &Manschotetal.,2013,p.13).Currently, designtouchpoints theservice ofthese post, today consumers canorganize andcustomize viavariouschannels” theirbankingservices wouldprimarilycommunicateservices withateller, andreceive amonthlybankstatement by and thenumberof‘touchpoints’ are increasing rapidly. “Whereas inthepast,auserofbanking ‘touchpoints’ interactions are thenecessary thattake placeto orproduct accessaservice points’ (Benchmann,2011,p.15)anddoesnotpivotaround designingcommodities.These design fieldconcernsitselfwithinnovatingagreater systeminteractions ofservice or‘touch design,are complexservice andareThisnew notsolvedviasimplesolutionssuchasartefacts. (p. 14).Thesedesignissues,whichwillbedefinedintheliterature review inthecontext of structures, operation experiences processes, andevenconcrete service physicalobjects” designprocess canhavevariousforms:ratheroutcome ofservice abstract organisational (which are predominantly presented andpropose asclientrequests forartefacts) that“the They state thatdesignneedsto consider the larger picture whenconsidering design issues their position among community-based projects and the innovation of service-based outcomes.their positionamongcommunity-based projects andtheinnovationofservice-based investigate rigorously howgraphic design’s specialised skillsandcreative techniques may fortify design processes are prevailing designcontext. withina‘real life’service Consequently, Iwill team orientated project oftheliveservice inorder to evaluate whetheralterations to graphic design methodsare introduced. Thisethnographic willalsoextend observation to thedesign projects. Thisisto discoverwhetherthere isanalteration to theircreative practices onceservice processes ofup-and-cominggraphic designerswhiletheyworkuponcomplex communitybased Iwillengageethnographic whichwillinvolveviewingthedesigningof artefacts. observation, context soasto confirmgraphic designpractices, which I propose are broader thanthedesign The role ofthegraphic designerwillalsorequire designthinking scrutinywithinthisservice design”(p.29).there language ofservice isnocommondefinitionorclearlyarticulated apparent inthefactthat,asyet, designisanevolvingapproach, thisisparticularly that “service frameworks” (p.418).Stickdorn andSchneider(2011)alsoconsiderthisfieldundefinedstate emphasis onmethodologies,withlessfocusthedevelopmentoffoundationaltheoretical 8th European AcademyofDesignConference inScotland,expressed thatthere “isastrong as “messy, emergent andcommunal”(p.62).Sangiori (2009),whopresented apaperatthe incorporate here inPerth. This‘mixed bag’ofpractices, hasbeendescribedbyKimbell(2011) to designthinkinghasbeeninconsistent service andwithoutafixed setofworkingmethodsto aesthetic, retail andobjectoutcomes”(p.2).Internationally however, thediversityinapproach countries, thecurrent designdirection inWestern Australia muchfocusingon isstillvery authors, Kueh, Medley&Price (2013),declare that“whilethisfocusisalready anorminmany is behindincurrent international trends withregards todesignthinking.Perth service design Some graphic designersinPerth, Western Australia, considerthatthelocaldesignindustry regards to developingeffectivedesignoutcomes. individual andgainknowledgeoftheirvitalroles withinacommunity, provides usefulinsightwith structure, suchasasociety. According todesignthinkingauthors, service viewpeopleas reveals thevaluablecontributionsthatindividualpeoplecanmakeHis theory to alarger populated to understandthebenefits ofengaginginthe“everyday person”(p.86). events oftheordinary (1958)theory,Raymond Williams’ “Culture isOrdinary”, willprovide aperspectivethrough which these “user-centred issues”(p.28). to needsanddesires beempatheticto andsubsequentlydesignfrom theireveryday theroot of designers into thelivesofindividualwhowillpotentially accesstheirproducts orservices, appropriate methodsforunderstandingpeople”(Grefé, 2011,p.28).Thisinvolvesimmersing design thinkingapproaches concentrate “on user-centred issuesthrough afilter thatidentifies 13 Introduction A Place to Start 14 Introduction A Place to Start “Design is“Design people” influenced by so many around the users outputs?: of your project What didyou find when designing graphic design’s role withinthisemerging practice. important innovate to aswellpromote productstowards further andservices designinaneffort service Grefé (2011),Brown andKatz(2011),Lupton (2011)aswellothers,whopromote themove processes. Thisthesisbuildsuponthetheories ofprominent graphic designfigures suchas will generate insightinto thepositiveaswellnegativereactions to thiscollisionofcreative designmethodstointroduction ofservice theirtraditional graphic designpractices, thisresearch design thinkingpromotes. From agroup of‘up-and-comingdesigners’, observing duringthe must adaptto establishtheirsignificanceamongthecollaborative designsettingsthatservice definitions ofgraphic designroles. Itis,therefore, relevant to investigate how graphic designers The visualdocumentationoftheresearch isvitalinthatitinvestigatinganddocumenting typical designprojects.role amongservice designers andbusinesscommunitiesinorder to gainagreater understandingofgraphic design’s project. Theoutcomeofthiscanthenbeusedbygraphic designers,butalsobyservice a textbook stylepublicationofthesemethods appliedintheirentirety todesign aliveservice design context doesnotappearindesign literature. Thisthesisproject, therefore, willresult in Currently, suchvisualdocumentationofthesequence ofgraphic designmethodsin theservice design.service design candoforthegraphic designerbutalsowhatgraphic designerscandoforthefieldof exploration andprototyping. From this,Ihopeto provide criticalinsightinto notonlywhatservice demonstrate designproject thekey phasessuchasresearch service techniques, conceptual process. Specificallydesigneddiagrams andphotographs willappearthroughout thisthesisto designsuch asempathyforexample, withinthesequenceofotherstagesservice designprojects.designers candointerms Thisincludesexploring ofservice individualmethods, is to examine graphic designtechniques andvisuallydemonstrate whatitisthatgraphic processes,develop products, andstrategy” services, (¶.6).Specifically, theaimofmyresearch among theirprojects andstate that“thinking like adesigner cantransform theway organizations projects. Brown Tim (2014),president andCEO, detailsthebenefitsofincludingcreative minds designpracticesservice internationally, incorporates therole ofthegraphic designeramongtheir the disciplineofgraphic design.“IDEO, ADesignandInnovationConsultingFirm”, to thefore of Western Australia, designand theneedforchangewithin isaninsightfulevaluationofservice The implicationsofthishonoursproject, withreference to thedesigncommunityofPerth, Significance 15 Introduction A Place to Start 16 Introduction A Place to Start effects ofthisupondesignpractices withinthelocaldesigncommunityofPerth. into thepotentialoccurring amonggloballyestablisheddesignfirmsandtheneedforinquiry statement aloneforeshadows theextreme upheavaloftraditional graphic designpractices already forms ofcollaboration thatblur theboundariesbetweencreators andconsumers”(p.382).This by Design”, that“theinherent scalabilityofdesignthinkinghasledusto inventnewandradical “Change Katz(2011)claimintheirarticle, Brown designtheorists,suchasTim andBarry Service when innovatingproducts andservices? designbenefitfrom incorporatingHow canservice thegraphic designeramongitspractices community-focused projects? designmethodsandapproaches helpgraphicHow canservice designersdevelopholistic centred approaches practices withintheexisting disciplinary ofgraphic design? designprocessesHow doestheintroduction helpto ofservice deepeninvestigationinto user- Sub-Research Questions of up-and-cominggraphic designersinPerth, Western Australia, alter theircreative practices? designprocessesHow doestheintroduction practices into ofservice theestablisheddisciplinary Principle Research Question University’s SchoolofCommunicationsandArts. designers astheyworktowards designing the2014graduate exhibition forEdithCowan in Perth, Western Australia. Thisevaluationwillbemadebyexamining up-and-cominggraphic design approaches practices mightbringto the establisheddisciplinary ofgraphic designers The aimofthishonoursresearch isto evaluate thechanges,ifany, thattheapplicationofservice Aim andResearch Questions critical ethnography. Criticalethnography assumesthere isastrugglebetweentheindividual thisinmind,theethnographic narrowed researchWith to methodologyshould thenbefurther design. service transformations occurto thosemethodswiththeintroduction ofanewdesignpractice suchas how thesemethodsare embodiedinthepractices ofup-and-comingdesigners,andwhat graphic designmethodsthatare prevailing withinthedesignculture ofPerth, Western Australia, From usingethnographic techniquesandinterviews,Iwillgaininformationon such as observation evaluate thepossiblealterations thatare madeto thisculture from design. introducing service Australia, howdoesitoperate andwhatare itscurrent characteristic practices’ before Ican project, asIwillneedto ask‘whatisthiscurrent graphic designculture like inPerth, Western operate andwhatare itscharacteristic practices” (p.90).Thesequestionsare relevant to my is stillmuchto belearnedfrom askingquestionssuchaswhatisthisculture like, howdoesit Crouch &Pearce (2012)discussthebenefitsofethnographic research andpointoutthat“there focused project. visual communicationdesignoutputswhichwillbedevelopedduringtheirworkonacommunity 90). The“analysis ofqualitativedata”(p.68) will bedrawn written from aswell theparticipants experiences ofothers,through intheculture researcher andpractices participation studied.” (p. wouldleadtowas anexpectationadirect thatparticipation orrealistic understandingofthe mightcometoobserver knowanotherculture asaninsidermightknowit.Inotherwords there ethnographic research thesestrategies forcollectingdatawere thoughtofaswaysforanoutside creation of‘thick’descriptionsthecultural practices Inearlyexamples of beingobserved. andin-depthinterviewing,whichleadtoethnographic observation the methodsare participant knownasethnography.otherwise Ethnography isdescribedbyCrouch &Pearce (2012):“Typical andalsoviewingdocumentingtheirdesignpractices,my research thisis participants design isintroduced, Iwillapplyaqualitativeresearch methodologywhichinvolvesinterviewing To gatheraninsight into thepotential alterations to graphic designpractices onceservice this deepenedinsightprovides greater insightinto howto proceed withtheproject overall. investigation into the originsoftheproject issues.Andifthisoccurs,Iwillevaluate whether designprocesses.introduction Ifthisoccurs,Iwillthenexamine ofservice ifthere isdeepened whoare(my research alsodesignstudentsatECU)alter substantiallyafter participants the This research willinvestigate whetherthedesignpractices ofup-and-cominggraphic designers Methodology 17 Introduction A Place to Start 18 Introduction A Place to Start “Definitely explore” explore realms thought you’d that you never forces you to service designservice Were there benefits methods?: from the introduced able to formkey comparisonsto designliterature. globalservice mayencounter duringtheirdesignprocesses.the participants From thisperspective,Iwillbe Through theseinformativeethnographic approaches, Iwillalsobeableto note anylimitationsthat design issues. duringtheirassessmentofcomprehension whenevaluatingtheexperiences oftheparticipants asavaluablesource ofinformation.Itwillprovide willserve Myhistory greaterparticipants. the difficultiesthatmayberelevant to introducing anew formofdesignthinkingto theresearch designer oftwelveyearsinPerth. Thisdesigntrade experience willgivemeclearer visioninto this research method,Iwillbeableto draw onmyownexperiences asapracticing graphic “here, theresearcher’s datasource’” ownexperiences (p.86).Through becomea‘primary my thesis.Patton that (2002),authorofQualitativeResearch andEvaluation Methods,asserts Another significantresearch offshootofethnography isautoethnography, benefit whichwillfurther business cards, posters andbrochures. to voicethespecialisedskillsetthattheyhaveto suchas offerbeyondthedesignofartefacts thevalueoftheirtrade toface theissueofasserting businessindustriesinthislocation,andhave system isthecurrent practices ofgraphic designinPerth, Western Australia. Thesestudentswill and theirsystem (p.91).Inthiscase,theindividualisstudentasagraphic designerandthe 19 Introduction A Place to Start 20 Introduction A Place to Start from combiningmyresearch findings,literature review andexegesis together, Ihopeto clearly process. (1958)theory, Through theperspectiveofRaymondWilliams’ “Culture and isOrdinary” role design thatthe‘graphic stageofthissubstantialservice designers’canplaywithinevery designproject asidentifiedintheliterature,common stagesofaservice aswellthesignificant more. Ihavechosento system examine thisimmenseservice soasto thoroughly investigate the anexhibitionresearch designteam, usersandmany participants, exhibiting students,theservice which revolves around alarge group ofpeopleincludingacademicstaff,administration staff, 2014graduateand Arts exhibition. TheSCA exhibition project structure isacomplex service exegesis. Myexegesis designproject; pivotsaround theSchoolofCommunications aliveservice My research results andreview ofglobaldesignliterature will alsobedelivered intandemwithmy designcontext,design thinkingintheservice andwillbepresented alongsidemyliterature review. The followingfourchapters willencompassfindingsfrom myresearch investigatinggraphic designers mayneedto adaptto onadailybasis. Flakes” (p.65).Thisstatement depicts theextreme diversityindesignprojects to whichgraphic typography ofaShakespearean sonnetto thedesignandtypography ofabox ofKelloggs Corn Goodwill”, hedescribesgraphic designasavastfieldthat“embodies visualideas,from the creative fieldofgraphic designnowencompasses.InPaul Rand’s (1987)essay, “Designis These labelshoweverbarely touch on theextensive array ofskillsandtechniques thatthe (Heller,designer” 2007). informationarchitectthese titlesincludecommercial artist, andeven“human-centred interface on amyriadoflabelsto establishasuitabledefinitionthatencapsulates itspractices. Someof methods. Sinceitwasfirsttitled,‘graphic design’byDwigginsin1922(p.xiii),thisfieldhastaken The fieldofgraphic designisinaconstantlytransitional state withregards to itspractices and designandaproposed shifttowardsof whichisservice itsholisticdesignapproaches. set ofmethodsthere isstillconsideration forchangewithinthisfieldofdesign.Themostrecent the literature willdemonstrate thatwhilegraphic designhasbeenanever-changing andgrowing literature, willexplore graphic designinorder to better defineitscreative practices. Ananalysisof creative skillssetofthegraphic designerandalongwithanaccompanyinginvestigationofglobal to clarifytheevolutionoftheirdesigntechniques.in aneffort Thisresearch willdelveinto the Graphic designauthorshavewritten extensively aboutthevariationsintheircreative practices Research PlanofAction role provided (sixup-and-coming graphic bythe research designers). Myqualitative participants Chapter onewillclarifythecurrent role ofthegraphic designer inPerth, viathedefinitions ofthis designproject framework.within theservice diagrams willaccompanythesedefinitionstothis thesis.Supporting demonstrate howthey work designproject willberevealeddesigner withinaliveservice withinchapters two,three andfourof design methodsaswelltheirpositiveandalsonegative affects ontherole ofthegraphic design; visualorganization ofproject information;andtouchpoints. Explanationsoftheseservice are: empathy;aredefinition ofproject issues;prototyping; designstructures; co- multi-disciplinary and are practices whichappearpredominately designliterature. amongservice Thesemethods projects. Thesesevenregularly citeddesignmethodsalsofeature withinthisresearch, service seven commonmethodswhichappearrepeatedly amongrecently documenteddesign service yet haveafixed toolkit ofdesignmethodsto applyto anygivenproject, however, Ihavefound changing role ofgraphic designcontext. designdoesnotas designerswithintheservice Service design, digitalmediaandgamedesign.Thisarrangement provided substantialinsightinto the came from arange oftechnical andtheoretical backgrounds includingphotomedia, spatial coming designers;sixofwhichwere graphic designstudentswhilsttheotherfour The designoftheSCA exhibition project for2014wasdeveloped byagroup of ten up-and- needs oftheusersitsproject outcomes,orartefacts. from theexisting, clientdrivengraphic designpractices whichmake assumptionsaboutthe in theshifttowards auser-focused designandamoveaway holisticapproach suchasservice designproject, Ihopetoview andviathedocumentationofaliveservice demonstrate thevalue contributionsto culturalthese shouldbeconsidered asimportant identities.From thispointof meanings” (p.86)are distinctinterpretations ofpersonal aswellsocialexperiences andthat committed personaland socialexperience” (p.86).Heargues thatthese“offered individual the product ofawholepeople,andoffered individualmeanings,theproduct ofaman’s whole person.“A eventsoftheordinary thingsandeveryday everyday culture iscommonmeanings, to assimilate to thesebehavioursto beconsidered ‘cultured’. Culture is,infact,offered inthe that thesocialactionsofhigherclasses“isnotculture” (p.84)andthatno-oneshouldhave that to becultured wasto andliterature. beeducated (1958)contends inthefinearts Williams provide avaluablecontributionto aculture. Hedismisses classdrivenideals,whichproposed of hisownworkingclassupbringing.From thisbackground, hedeclares people thatordinary (1958)theory,Williams’ “Culture isOrdinary”, investigates cultural hegemonythrough thelens user-focused designshouldoccur. holisticapproach suchasservice show therelevance ofthisthesisandwhyachangefrom current graphic designpractices to a 21 Introduction A Place to Start 22 Introduction A Place to Start literature discusses. determine innovations similartodesign whethertheseare infactservice those thatglobalservice exhibition eventwillbedocumented inphotographic, diagrammatic andwritten formsinorder to designproject.the result Thedesignedoutputsforthe SCA oftheliveservice 2014graduate Chapter fourwillbeademonstration designproject touchpoints oftheservice whichwere affect uponthegraphic designerscreative designcontext. processes withintheservice will attempt to identifyaconsistent systemdesignapproaches inorder ofservice to evaluate their andinsteaddesigning artefacts shiftingtowards user-focused outcomes.Therefore, thisresearch practices, asdescribedindesignliterature, are considered essentialinthe moveawayfrom product design)as‘touchpoints’ intheuser’s design’s Service experience oftheservice. holistic producedthe artefacts (beitwebsites orposters ingraphic design,orfurniture orutensils in Tothe service. compare it withthemuchnarrower term ‘graphic design’, design considers service to itsusers.Insomecases theplanninganddesignisdonecollaboratively withtheend-usersof speaking itcanbedescribedasplanningandorganising alloftheelementsconnectingaservice consensus astodesigncanencompassallfieldsofdesign.Broadly itsdefinition, asservice developmentforthedesigndisciplines.There designisthelatestnoexactService important for thismoveaswellattempt to establishdefinitionsforkey terms withinthisfield. to engagein“usercentred issues” (Grefé, 2011).Chapters twoandthree willexplore thereasons design literature. Mostoftheliterature discussestheneedto moveawayfrom designingartefacts designproject whicharemay ariseduringthecourseofaliveservice notdocumented inservice structure, Ihopedto alsouncoverlimitations andrestrictions todesignpractices service that design designproject andtheconsequencesofthischange.Whilstanalysingservice service Chapters twoandthree willestablishthe changingrole of thegraphic designerduring alive designoutcomesortouchpoints.can assistindevelopingmore holisticservice valuable skillsetofgraphic designersbutto reveal thattheoutcomes generated viatheseskills hoped to seeinnovationintheoutputsthatare possible.Theaimwasto notonlyexpose the investigation into thedesignissuesthatgraphic designersare presented with.ConsequentlyI I hopedto seeachangeoccurfrom anexistingdesignprocess to artefact-based abroader design methodsaswellafter thesehavebeendemonstrated. Through thismethodology beforeresearch theintroduction ofthesevenservice methodsincludedinterviewingparticipants # on Earth What Do WeDo Do? 1

The Current Role of Graphic Design... 23 Introduction A Place to Start PH.19 PH.20 PH.21

PH.22 in otherwords, thegeneral populationofPerth, Western Australia. only perceived bythesegraphic designersbutalsoextends to theirsubsequent socialgroups, or isnotunderstanding ofitsrole bysomeofthoseemerging withinthediscipline. Thisuncertainty showsthatthepracticeThe differences indefinitionssubmitted hasnounified byparticipants Western Australia, isnoteasilydetermined bysomeofthosewhoare up-and-cominginthefield. From thisinitialdata,itseemsasthoughthecurrent role ofthegraphic designerinPerth, suchasbusinesscardsdesign artefacts orposters. confusion abouttherole ofagraphic designerandtheytoo describeditviacommonlyknown five outofsix,oramajority, foundthattheirfamilyorfriendshadalackofunderstandingeven other words,Whenasked howparticipant’s artefacts. acquaintancesdefinedtheirdiscipline, content forcommunication”andtheotherthat“wecommunicate informationviaoutputs”, orin connected communicationwith thegraphicparticipants designrole; onesayingthat“wedesign todesign problems.state Onewentfurther thisas“fixingclientissuesviadesign”. Two outof six declared thattheunderlyingrole ofthegraphicof sixparticipants designeristo problem solve produce. Mostcommonlymentionedoutputsincludedwebsites, logos,brochures, etc.Two out thattheyhaveeitherdesignedthemselvesorareartefacts informedthatgraphic designers explain briefly. definedthe role ofa graphic Fiveoutofsixparticipants designerviaalistof deemedit‘difficultto describe’and‘broaddesign. Theseparticipants initscontext’ and to try with ‘ohmygod’orsimilarattheideaofattempting to encapsulate thedefinitionofgraphic andresponded to answerthequestionoverwhelming Four foundtrying outofsixparticipants “As agraphicdesigner, canyouexplainwhatdo?” their role: graphic designerandto draw ondesignexperiences whichmightreveal clientexpectations of toI askedshare eachparticipant insightinto theirownworkpractices asanup-and-coming and to clarify their skillsset. definition ofthe role ofagraphic designerinPerth, design methods. Iwanted to findoutthe current participants before they were introduced to service first oftwo which Iundertook interviews with research Within this chapter, Iwillreveal the findingsfrom the 25 # 1 What on Earth Do We Do? 26 # 1 What on Earth Do We Do? radio orevenlater viatelevision broadcasts. Thisgrowing lackofindividualidentityamong people communications. Theycould receive these messagesinananonymouscontext through their Individuals nolongerneededto attend ‘faceto societal face’environments to findoutimportant and audience”(p.88).These communications provided informationdirect to people’s homes. transmission created ofnewsandentertainment, unbridgeabledivisionsbetweentransmitter thedevelopmentofnewformsmultiple“the improvement incommunications,particular development ofmasscommunicationanditsdebilitatingaffect oferoding an individual’s identity: (1958) examines someoftheeffectsindustrialisationuponcultural identities.Hediscussesthe (1958)theory,through theperspectiveofRaymondWilliams’ “Culture isOrdinary”. Williams How theconfusionoverdefinitionofgraphic designercameto becanclarified work environment inwhichgraphic designersnowoperate. anddesign” (¶.2).Thesedescriptionsprovide valuableinsightintobetween fineart thecomplex and associated disciplines suchaswritingandproducing, aswelltheblurringofboundaries Heller (2007)addsthatgraphic designnowalsoincludes“timebasedmedia,information and nowencompassesmotiongraphics, environmental communications,andnewmedia”(p.xi). connected ofthese. “In recent years graphic designhasexpanded beyondtraditional boundaries illustration, photography andprintingtechnology” (p.xi).Thelinkwithprintingisthemosttightly Meggs (1998)writes, that“theevolutionofgraphic designiscloselyboundto theevolutionof practices ofgraphic designmaybetter ofGraphic aidindefiningthisfield.InAHistory Design, Clearly thetitleofgraphic designisnotgoingto fullyencompassthisfield.Analysingthe call ourselvesanythingwewant,withtheexception (¶.1). ofmaybedoctor orMonsignor” even mocksthisscenariosayingthat“sincegraphic designisnotalicensedprofession, wecan our clients.So,ifwedon’tknowwhatto callourselves,whodoes?”(¶.1).Hellerelaborates and terms. Hestates: “As professionals we are hired to beclarifiers,organisers andevennamersfor Ourselves Now?”forEye Magazine,considersthetitleofgraphic designaslimited inmodern (super meaning‘aboveor‘before’)” (p.10).Steven Heller(2007),whowrote “WhatDoWe Call to beprinted.artwork OneofDwiggin’s alternative terms forgraphic designwas‘superprinting’ saying that“Dwigginssawgraphic designasalmostentirely concernedwiththepreparation ofthe Quentin Newark(2002),authorofWhatisGraphic Design,clarifieshisreasons forthistitleby accepted labelfortheinter-related actsofdrawing, spec-ing,compingandlayingout”(¶.3). (Heller, 2007,¶.3).Before wasthe thiswell-knownlabelwasforged, “‘commercial artist’ Dwiggins usedtheterm in1922,“to describe thewiderange ofjobshepersonallytackled” The disciplineofgraphic design hasbeentransitional andadaptiveinitspractices since W.A. Figure 1.1. of theproject. and conceptdevelopmentstages other duringthedecisionmaking designer are separated from each In thisarrangement theclientand 27 # 1 What on Earth Do We Do? 28 # 1 What on Earth Do We Do? a place to start, foragraphica placeto designproject. start, client’s expectations. These outputprecedents artefact are therefore usedaslaunchingpoints,or designers reviewed existing publishedgraphic designexamples asavehicleforrecognizing their with thedesignprocessmove forward (seePH.19-22pg.22).Thesefiveup-and-coming graphic thenusedideationintheform ofhandsketching toThese sameparticipants generate ideasand accessedas aresource toparticipants viewpreviously completed graphic designedoutputs. pinup board ofcreative workwhichcanbesubmitted byanyone,wasonewebsite whichfive the sameresearch Pintrest,whichisan onlinevirtual technique usedbyallsixparticipants. materials through easilyaccessibleavenuessuchasprinted publicationsorwebsites was wasresearchingas stated Aninvestigation into theartefact. byallparticipants, existing designed website,such asanannualreport, poster, etc.Thenext phaseinthegraphic designprocess, for thejob.Allprojects were introduced bytheclientandposedasarequest foranartefact purpose ofthis,uniformlybyall,wasto gathermore informationabouttheclient’s requirements stated thattheycommenced theirdesignworkwithaninitialclientmeeting.TheAll participants “How doyoucommenceagraphicdesignjob?”wasputto participants. To drivenpractices uncoverhowthese artefact occur, thequestion: in terms ofhowto produce themosteffectivewebsite designfortheirclient’s users. the mostappropriate Thegraphic artefact. designer thenfocusesonaddressing thisdesignissue audience. Thewebsite isthechosenoutputforthiswhichclienthastypicallypre-decided is The designissue,inthiscase,isaneedtosetofcommunications providean aparticular example ofthiswouldbeaclientwhoasksdesignerto constructawebsite fortheirbusiness. the client.Thisdesignissueisusuallypresented (seefigure asaneedforanartefact 1.1.).An traditionallyThese designedartefacts embodyclientinstruction,addressing anissueidentifiedby directive isto constructavarietyofoutputs suchaswebsites, businesscards, packaging,etc. commonly ascribedto thatweproduce. theartefacts Itisexpected thatagraphic designer’s main interpretation ofthepractice ofgraphic design,therole ofthegraphic designerisinstead most What istransparent from thisresearch howeveristhatinstead ofbeingableto express aclear identity ofthegraphic designerhasbeenlost. they haveto offerabroad range ofprojects. From thispointofviewitisclearer howthecultural their “audience”. Theirisolated workpractices havereduced anunderstandingoftheskillssetthat created unbridgeabledivisionsbetweenthemselves,the“transmitter”, andthegeneral public, When viewingthedisciplineofgraphic designinthiswayitispossibleto seethatdesignershave in society“ledto theaudiencebeinginterpreted asanunknownmass”(p.88). states that,“design isoneofthemostperplexing pursuitsinwhich to excel” (p.65).Hepoints Rand (1987)reveals thecomplexities withinthisclient/graphic designerrelationship whenhe my clients’designdirectives. catalogue ofexperiences from whichto draw andtherefore basemyreasoning whenquestioning effective outcomes.Myaccumulated breadth ofprofessional designprojects hasgivenmearich jobs behindme,Inowhavelessconcernoverquestioning client instructionsinorder to pushfor the briefandinturnappeaseclientrequests. However, withavastnumberofgraphic design onscenarios suchasthese,Icanrecount thatItoodesign andinparticular hadaimedto follow the fearoflosingjob.Reflectingonmyownextensive background withinthefieldofgraphic appears dauntingandtheirhesitationinto thisprocedure seemsto bepredominantly drivenby they couldgosomewhere else”. For into theclientbrief theseup-and-coming designers,inquiry isthat“Itcouldcostusthesalewherethat thepossibleoutcomefrom thistypeofclientenquiry tell mymanagerto tell theclientasshehasfifteen yearsexperience”. proposed Thisparticipant from thebottom”I’m starting andintheeventthatshedoeshavequestionsshared that“I to herminimalprofessional inthefieldofdesign.Shestated history that“Ihavenoreputation, concerns onthismatter andconveyedthatherhesitanceinquestioningthebriefisattributed onthisprojectOne outofthesixresearch provided aninsightfulviewinto participants her viewed asbeingdifficult”. declared thatinquestioningthebriefandfrom aclients’perspective“youcouldbeparticipant brief maybechallengingevenifthenewoutcomethatispresented to theclientispositive.This client brief.Theotherconcludedthatconvincingtheto veeroffthepathwayofexisting to addthatthisscenariohadnotyetarisenbecausetheyregularlyone wentfurther followedthe saidtheywouldconsiderofferingclientsalternatetwo remaining participants outcomes.However, did notmentionthepossibilityofalternate atall.The oreventheoptionofnoartefact artefacts variations to thebrief butonlyinterms ofcreative optionsforthealready specifiedoutput.They like to bequestioned”. Four declared outofsixresearch theywouldoffertheclient participants questioning thebriefwould“depend ontheclient”andanother stated that“someclientsdonot relationship existed”pointed outthat betweenthemandtheclient.Another participant into a briefwouldonlytake inquiry placeoncean“established addedthatfurther participant has beenrequested initially. donotquestionthebriefat all.One Theotherthree participants specificationsrequiredclarifying theartefact bytheclientandnotto findoutwhytheoutput butonlyinterms offurther inadditionalinquiry saidtheydopartake Three outofsixparticipants I thenasked: “Would youquestiontheinstructions,orbrief,provided bytheclient?” 29 # 1 What on Earth Do We Do? 30 # 1 What on Earth Do We Do? “Posters, logos... on paper, there as much asthat is somuch more is whatwe do behind it” graphic design?: How doyou describe the discipline of their designprocesses to focusontheroot oftheseproblems andnotjustconcernthemselves (p.131).Fromshortcomings” thesestatements itisclearthatgraphic designersneedto adapt providing solutionsto theseproblems, andassuchthere isaneedto innovate to meetthese often opento interpretation” are notupto (p.131)andadds that“publicservices thetaskof faceanumberofwicked socialproblemspublic services thatare complex intheircausesand terms ofcommunity-basedprojects. cites Gregory Bason(2012):“Thegeneral argument isthat problems thatwilldefinethe21st”(p.381).Designersnowfacelarger problems, especiallyin bitoftechnology inapleasingoratleast innocuousboxlogo, putascary -are simplynot the -craft“the problems thatchallengeddesignersinthe20thcentury anewobject, create anew not justinterms ofsocialresponsibility, butalsotowithinthefieldofgraphic survive design; Brown &Katz(2011)contend thatdesignershaveto drivenpractices, thinkbeyondtheirartefact designers willhavegreater responsibility. design skillsto ensure ‘good’designoutcomes foragreater spectrumofusage.Consequently, just theintended immediate users.Inwhichcase,designersneedto continueto adapttheir of thelimitsmassproduction” (p.234)couldhaveimpactsuponglobalcommunitiesandnot for designersandPapenek (1972)pointsout “thatquality, newconcepts,andanunderstanding and governmentsectors” (p.3).Thesesocialdesigninteractions leadto widerconsiderations designers willbecontributingcreative solutionsinsocialinnovation,businessconsultancies, the breadth ofgraphic design’s responsibility emerging andsays,that“thismeans disciplinary his workthanhebelievesdoes”(p.234).Designtheorist,Christopher Kueh (2012)reiterates responsibility” (p.220)andpointsout“itisafactthatthedesigneroften hasgreater control over Real World, bysayingthat“thejobofform-givingandreshaping hasbecomethedesigner’s Victor Papanek beganexploring thesechangesasfarback1972inhisbook,Designforthe could beresponsible for. generally didnotconsiderthatthecontent oftheirdesigns wassomethingthattheythemselves, for example, to make aprintablelayoutoftext withimageslookgood.Graphic designersthen beyond theboundariesofgraphic design’s historical realms inprintwhendesignerswere asked, thatwedesign,canbetothe artefacts blameforwhere andhowtheyendup.Thissteps way the graphic designer. For graphic designersthiscanmeanthat,eventhoughwemaynotchoose butifandhowtheclient’sor artefact customers interact isnowtheburden withthatartefact of ‘creativity’)” (p.65). Thisclientdirected system mayhavetheclientdetermining aspecificoutput endless stream of opinions,andtheday-to-day problem offinding‘new’ideas(popularlycalled out how“thedesignermustcontend withencyclopedicamountsofinformation,aseemingly 31 # 1 What on Earth Do We Do? 32 # 1 What on Earth Do We Do? (Butler cites Thomas,2008)and“thatwehavefilled more dumpsand landfillsthananyother pivoted around haveresulted producing artefacts, indesignbeingtitledasa“wasteful business” core marketing agenda:woulditsell?Historically establisheddesignpractices like these,which the consumer’s need”(p.220).Inotherwords, alloftheseproducts were produced utilisingthe daily useare massproduced to autilitarianandaestheticstandard often completely unrelated to the devastatingresults ofthismarketing methodbystatingthat“today themyriadofobjects audience hadnoreason notto believethesenew‘needs’to betrue.Papanek (1972)explained exploiting theirhopes,fears,andvanities”(p.382).Theyinvented new‘needs’to sellandtheir professionals to andadvertising sellthemtoenlist armiesofmarketing people-often experts by how thishascometo be:“Intheearlyyears,companieswoulddream upnewproducts and to (p.1).Brown, thecustomer” T. &Katz,B.(2011),authorsofChangebyDesign, describe solutionandback innovationisthatyoumustshift thefocusawayfrom theservice true service industry. (2010)reiterates Bettencourt thisfrom abusinessperspective andsays“thesecret to of viewismore prevalent thaneverindemonstrating theneedforchangewithinservice not overlooktheindividualassomeonewhocanoffersomethingsignificantandthispoint (1958)key points.HearguesThe pitfallsofthis‘mass’viewisoneWilliams’ thatweshould (p. 25).Thisisnotpossiblewhilstviewingpeople(orcustomers) asan‘unknownmass’. states “thesecret to innovationisunderstandinghowcustomers successfulservice definevalue” about the‘mass’audienceforwhomtheirdesignedoutcomesare(2010) destined.Bettencourt Figure 1.1.pg.25).Thisfieldhastraditionally followedclientdirection, whilstmakingassumptions from theendofproject andnotfrom thebottomdesignapproaches (see upasperservice Thefieldhasdesignedfromneeds oftheindividualusersproducts thetop orservices. down, The practices ofgraphic design,historically, into theidentities,wantsor havemadenoinquiry aesthetic considerations andthatthecompanyidentity(orvisualbrand) iseasilyidentifiable. a website forexample, thiscould meanthattheappearance incorporates of itsuserinterface meetsorevenmovesbeyonditsclients’expectation.when thedesignedartefact, Interms of output driveninstruction.Theterm ‘good’isestablishedamongthisclient/designerrelationship successful initsoutcomewhenagraphic designerproduces viaaclient’s a‘good’artefact and whetherthere were otherpossibledesignalternatives. Thisexisting system isconsidered rigorously investigated theissuepresented to theminregards to wasrequested whyanartefact design practice forup-and-coming designersinPerth, Western Australia. Thesedesignersnever From theresearch gathered sofar, itseemsthatfollowingclientdirection isstandard graphic basedoutcomesforwhichtheyarewith artefact nowaccountable. The consumer, inmore recent years,hasmore saythaneverinwhattheyexpect from their users. international documentationofusersentimentinregards to clientsandwhattheyknowabout own designneeds,andthere istherefore noneedto questionthebrief.Thisisnotintrend with the briefbeyondtheirclient’s instruction.Theyshared thattheybelieveclientsalready knowtheir Interestingly, into elaborated inquiry someparticipants onwhytheywouldnotcommencefurther atall. need thatartefact for meto questionaclientaboutthespecificationsoftheirrequested orwhetherthey artefact understanding ofmypractice andsubsequentconfidenceinmydesignabilitiesmakes iteasier relate boththepositiveandnegativeimplicationsofthese.Thisgradually accumulated broad of clientrequests, Icanreflect uponacomprehensive ofgraphic history designprojects and a practicing graphic designer, Ihaveexperienced avastrange ofdesignscenarios.Interms and therefore offertheclientpossibilityofalternate project outcomes.After 12yearsas inwhetherthesedesignerswouldquestionthebriefdesigner appearsto playavitalpart the role asgraphic designers,to bethereason forthis.Extended timeasapracticing graphic consider alackofexperience inthefieldandtherefore alackofconfidenceinthemselves that questioningtheclientbriefisadauntingtaskto thesegraphic designers.Amajorityofthem From examining theworkprocesses ofup-and-cominggraphic designers,itisalsoapparent designlikedescribe theapproaches this: ofservice the root ofthese“user-centred issues”(Grefé, 2011,p.28).Enninga&Manschotetal.,(2013) to needsanddesiresservices, beempatheticto andsubsequentlydesignfrom theireveryday 2013 p.13)designersinto thelivesofindividualwhowillpotentially accesstheirproducts or understanding thattheyconsidervaluable.Thisinvolvesimmersing(Enninga&Manschotetal., design approaches concentrate ongettingto atalevelof knowtheuserofproduct orservice design aproduct andthenattempt to sellitto theindividualwhomightuseit.Instead, service design,unlike traditionalService graphic designpractices, doesn’tautomatically assumeto profession” (Poynor cites Buchanan,2008,¶.5). (Enninga &Manschotetal.,2013,p.14) their search forgooddesigns,designersare thusfocusedonpeople-theusers. interaction betweenproducts andpeople,orbetweenpeopleother people.In Products are designedby peopleto andservices beusedbypeople,to achieve 33 # 1 What on Earth Do We Do? 34 # 1 What on Earth Do We Do? up-and-coming graphic designersinPerth, Western Australia. should getto knowtheir needs,wantsanddesires. Thisisnotthecurrent methodologyinuseby designers, shouldtherefore notassumeto know their needsevenifclientsdo.Instead they theyare toldeverything andbecauseofthistheycannotbesoldto like theyusedto be.Graphic simplifies thegloballiterature ongraphic designpractices interms ofhowusersnolongerbelieve and that“youcan’tpullthewooloversomeone’s eyes”(Bloomberg, 2013).Thisstatement of Virgin America,says“there istoo muchinformationoutthere aboutbrands, aboutexperiences” more effectively”(p.13).GalePorterdesign theseservices (2012),formerchiefmarketing officer tocritical, andcompetitioninthepublicsectorincreases, itbecomesmore services important Design,Insightfrom NineCaseService Studies. Theydiscovered “as consumersgrow more designprojects, andaselectionwereservice chosenforamore detailedanalysisintheirbook University oftechnology, Enninga&Manschotetal.,(2013),conducted ofmany observations corporations andtherefore Researchers products from andservices. bothHUUniversityandDelft #2 That’s Not Your Problem: Evaluating Project Issues... Project Evaluating PH.23 PH.24P.24

PH.25 PH.26

PH.27 PH.28 people as masses” (p. 88). He asserts thatviewingpeopleasamass, removes theirindividualpeople asmasses” (p.88).Heasserts ‘mass’ viewofpopulationsby declaring“there are infactnomasses, butonlywaysofseeing (1958)arguesthe peoplethatwilleventually access theirgraphic againstthis designs. Williams’ need. However, thesedesignersdidnot lookbeyondthisbasicinformationto better understand Categorising into accessing whotheyare peopleinthiswayisaninitialstart andwhattheymight better was destined. understandtheneedsforwhichdesignedartefact determined theirusers asagegroups,their users.Oneparticipant suchas25-35yearolds,to stereotypical labelsprovided bytheclientsuchasnurses,housewivesorelderlyto categorise they hadnodirect used contactwiththemduringtheproject. Three outofsixparticipants admitted toAll participants assumingto knowtheusersoftheirdesignedoutputs eventhough investigate whattheneedsanddesires didnotfurther oftheseusersmightbe. this participant consideration to thissaidhowever, howpeoplemightcomeinto contactwiththeirdesigns.With necessary. noted that,duringtheirdesigningstages,theygavesubstantial Oneparticipant that theclientknowstheirownusersandtherefore investigation theyconsidered nofurther graphic designingprocesses whenfollowingtheclientbrief.Two declared outofsixparticipants feltthattheyhadconsideredduringtheir theuserofartefact Five outofsixparticipants “Do youconsidertheuserofthisdesignedartefact?” To commencethis inquiry, Iasked myresearch participants: Method Design 1:EmpathyService upon the client briefonly. process orwhether they designedoutcomes based graphic designersconsiderthe userduringtheir design information to the designer. This was to determine if fornecessary meto investigate how the client provided graphic designproject pathway. To findthis out,itwas and-coming designersare typically client-led down a design methods, Iwanted to investigate whether up- participants andbefore they were introduced to service Near completion ofmy with firstinterview my research

37 # 2 That’s not your problem 38 # 2 That’s not your problem At the commencement of the live service designproject,At theinitialbriefdirective thecommencementof theliveservice was based upon (see Figure 2.1.). atafundamentallevel.Weconnect withthepeopleweare observing callthis‘empathy’”(p.382) attention” (¶.4).Brown &Katz(2011)reinforce agrass roots approach bystatingthat“wecan 2) andconcludedthat“unprecedented environmental, socialandcultural crisesdemandour time andenergy isusedupmanufacturingdemandforthingsthatare inessentialatbest” (¶. in 1964,calledforgraphic designersto puttheirskillsto better use,declared, “theprofession’s toners, recreational lightbeerandheavy-duty vehicles”(Garland,1999,¶.2).Ken Garland,who biscuits, designercoffee,diamonds,detergents, hairgel,cigarettes, credit cards, sneakers, butt and “are thebulkofwhatdrivesourcurrent economy”(p.130).Examplesoftheseinclude“dog products thatare pushedto “a levelof desire soasto create ‘need’”(Jedlicka,2010,p.130) createdtheir wants,orartificially wants”(p.234).These‘wants’, according to Papanek, are the was apioneerofthisapproach. Heurged designersto “design forthepeople’s needsrather than (p.62). Papanek designserving?” accountability” (p.62)andasks“whoorwhatisservice (1972) 130). Kimbell(2011)agrees butlookscloserinterms ofsocialresponsibility with“an emphasison through questioning:“Whomisthethingsupposedtoandwhatdo‘they’want/need?”(p. serve, In termsdesignthinking,the“consumer’s ofservice need”(Jedlicka,1972,p.220)issought experiences andto valuethese asrichcultural contributions. to lookatapopulation asindividuals,to messagesand investigate theircommon everyday offerings to asksus acommunity aswellanation,andtherefore theory aculture. Williams’ Figure 2.1.Empathyoccurswhenthere isanopendialoguebetween diagram connect. bytheblackdotswhere thesetwoparties project designersandusers.Thisisdemonstrated inthis information whichprovided insightinto knownuserissues,suchasa lackofuserattendance, at designtechnique uncovered of‘gettingtoThe empatheticservice fundamental knowtheuser’ were theywhileattheevent?’they findtheirwayaround theevent?’;and‘how comfortable about theevent?’;‘whydidthey feeltheywere notallowedto attend theevent?’;‘whycouldn’t It wasnowapparent thatnewproject issueshadarisensuchas‘whydidtheseusersnotknow they weren’t aware ofthem. way betweenthespaceswithinshowandothersmissed areas oftheshow completely as revealed thatofthoseuserswhodidattend previous years’shows,somehadtrouble findingtheir which pivoted around ‘theassumptionthatusersnewabouttheshow’. Ontop ofthisitwasalso beyondtheinitialdesignissue toextremely uncoverasitdeepenedourdesigninquiry important the assumptionthatSCA graduate exhibition wasto beattended bygraduates only. Thiswas or eventhatitexisted. Inaddition,someusersdidn’tknowiftheywere allowedto attend dueto Responses from thisconversationincludedthatnotmanyusersknewwhentheeventwason supply, etc?”and“Ifthere isanythingyoucouldchange abouttheevent,whatwouldthatbe?” concerns,information during thecourseofevent,suchasdifficultyinnavigating,comfort why not?”To refine ourfindingswealso asked: “Ifyou did attend, didyouencounter anyissues If so,canyoushare yourpositiveaswellnegativeexperiences? andIfyoudidnotattend, Questions weasked usersincluded:“Haveyouattended previous SCA graduate exhibitions? andconsequentlyshare totheirpersonalexperiences abouttheshow.surveyed feelcomfortable potential usersabout theupcomingSCA graduate exhibition event.We wanted thosebeing this informationwedevelopedasimpleandcasualstyleinterviewto provoke conversationwith desires interms ofwhyandhowtheywould interact withtheexhibition event.To helpgather findings soasto have agreater understandingofusers.We neededto findouttheirwantsand exhibition event.Itwasessentialtoof peoplewhomightaccessthisparticular gathersubstantial and theirneedsfortheSCA thisinmindwealsoapproached exhibitionagreater event. With pool well. Thisdesigner/userstructure provided additionalaswellimmediate insightinto theusers designers workingontheexhibition project were alsopotentialsystem usersofthe service as these asintended.interesting This process wasparticularly asthegroup ofup-and-coming would bedevelopedfrom anholisticallydrivencore to determine whether userswouldaccess inensuringthatthedesignedoutcomes pointwasimportant the project outcomes. Thisstarting out theirwants,needsanddesires soasto incorporate theirvaluablecultural contributionsinto coming designersalongwithmyself,investigated potential usersoftheeventasindividualsto find ‘how to getusersto attend theSCA 2014graduate exhibition event?’. Thegroup often up-and- 39 # 2 That’s not your problem 40 # 2 That’s not your problem “Yes, there’s of my brain” and paper that about pencil something makes more things comeout Will you use the future?: prototyping in understand thevaluablecontributionsthattheycanmake to theSCA graduate exhibition event. the needto stop hypothesizingaboutusersandinstead begin a clearconversationsoasto is beinglived,maybebrought to consciousness andmeaning”(p.86).From thisheis declaring whileit that thewholeactuallife,wecannotknowinadvance,canonlypart He notes that“all thechannelsofexpression andcommunicationshouldbecleared andopen,so designproject.reflects theuserassumptionsthatcouldhavebeenmadewithinliveservice (1958)discussesthebenefitsofremoving predeterminedWilliams’ beliefsaboutindividuals.This project outcomes. had openedthedoorto thepossibilityofaninnovateddesignpathwaytowards service different attend. Thisnewlyfoundvitaldatachangedtheproject’s predetermined andinstead artefacts not previously apparent, suchasusersnotknowingitwasonorwhethertheywere allowedto preceding SCA graduate italsouncovered exhibition issuesthatwere events.More importantly these discoveries. Only one participant followedthedesign briefcomprehensively anddidnotthese discoveries.Onlyoneparticipant case,additionalconceptswere developedandpresentedparticipants’ to theclientthatrevealed design issueresulted infindingcore issuesfarbeyondtheclientrequested artefact”. Inthis graphic designbrief”. declared that“a One participant deepenedinvestigationinto theoriginal that “itwasgreat to navigate thesenewissuesasdidnotarisewhenfollowingaclients’ had resulted into theinitiallypresented inadeeperinquiry stated project problem. Oneparticipant designtechniques agreed thatthe service thathadbeenintroducedFive outofsixparticipants if so“Didnewissuesarisefrom thisinvestigation?” “Was there adeeperinvestigationintoissuesfrom usingservicedesignmethods?”and At thecommencementofinterviewtwo,thisquestionwasputto participants: project issues,againjustlike exhibition designteam. I thenneededto were findoutwhetherresearch alsopresented participants withunexpected design team aspreviously mentionedin theprevious section ofthisthesis.Ifhadhappened, had engagedinadeepenedinvestigationinto theirproject’s designissuesjustlike theexhibition find outtheirreactions to these new practices. Specifically, Ineededto determine iftheytoo hadnowbeenintroducedMy research designmethodsandIwanted to service to participants Issues Design Method Design 2:Redefinition ofService 41 # 2 That’s not your problem 42 # 2 That’s not your problem meant thegroup nowhadanunforeseen challengeto overcome howeverthisuncovered vital project group hadto incorporate additionaldesigndevelopmentwithintheirproject timeline.This afterschool footballmentoring program. Thedevelopment ofthisnewconceptmeantthatthe schoolstudentshowtosaw someofitsmembersteaching playfootballthrough primary an designgroup created forthe client,thisservice artefacts aconceptforthisfootballclub,which group waslosing members.Inadditiontoissue inthatthissporting redesigning therequested website andyearbookforalocalfootballclub.Duringtheirinvestigationtheyfound deeper shared thatherprojectIn oneexample, group aparticipant were asked to designanewsletter, outcome. these newunanticipated problems ultimately resulted inagreater innovation ofthefinaldesign challenges duringtheproject timeline(seeFigure 2.2.).Oneelaborated to share thatpursuing agreed thatthese newissuesleadtowith. Three outoffivetheseparticipants unexpected issues arose from deepenedinvestigationinto theinitialproblem thattheywere provided who didpushbeyondtheboundariesofbrief,foundthatsubsequent The fiveparticipants target audienceare commonplace. employ nointrinsicexploration into theinitialdesignissuespresented andassumptionsaboutthe existing graphic designprocess whichisprevalent inPerth, Western Australia. Thesemethods appropriate required artefact embodiedthe to meettheneedsofthoseusers.Thisparticipant that theclientalready knewwhotheiruserswere andsubsequentlywouldalsoknowthemost into theclientpresented perceived enquiry designissue.Thisparticipant engage withfurther Figure 2.2. During aredefining process, extreme can momentsofdiscovery occur whenthedesignersuncovernewproject issues. event usersandshared, thatInstagram wasapopularonlineapplicationamong theirpeers.By show wason’. Theexhibition designteam were ableto provide agrass-roots perspectiveas with theuserduringleadup to theeventwould ensure thatusers wouldknow‘whenthe which youmayonlyseeonce, theexhibition design team posedthat anongoingconnection constant relationship withusersupuntiltheexhibition eventopened. Unlike a poster oremail During theinvestigationinto thetouchpoints, aconceptemerged whichentailedmaintaininga exhibition eventwasonandthattheywere allowedto attend. designprocessfrom wasforusersto applyingthisservice knowwhentheSCA 2014graduate and humanpointsofcontact(suchasvolunteers aswellword ofmouth).Theintended result spaces),signage (banners,flagspositionedinprominent, highusertrafficadvertising positions), and instagram account),multiplewebsites (onespecificto theeventaswellotheronline and emails,theexhibition designteam investigated socialmedia(afacebookpage outputs wouldconnectwithusersandwhy. Alongwiththepreviouslyofposters usedartefacts these conventionalmediaamongabroader range oftouchpoints to determine whichofthese etc., asthisexisting process wasnotreachingto allusers.Instead examine itwasimportant traditional whichhadbeenusedforprevious shows,suchasposters, designartefacts emails, that wouldconnecttheseusersto theexhibition event.Itwasintegral to explore beyondthe a specificproject strategy to address thesenewissues.We hadtosystem designaservice uncovered datawasintrinsicto theproject overall aswenowknewthatneededto organise was scheduledto commence orwhethertheywere allowedto attend thisopening event.This the potential usersof theSCA graduate exhibition eventdidnotknowwhentheexhibition into theinitialbrief,new issuesarose which were unexpected. Theseincludedthatsomeof designprojectThis ambiguousscenariomirrors inthat,after theliveservice deeperinvestigation use overasustainedperiod. them understandwhowillnotonlywantto butwillcontinueto usethisproposed service, wantto about theiraudienceandto avoidviewingpeople(orcustomers) asan‘unknownmass’. Ithelps and ‘audience’. Theseethnographic practices designersto enableservice make noassumptions ofwhichcouldreduce thedamaginggapbetween‘transmitter’individual offerings,discovery from thegrass roots upwards. Heasksthatwedigalittledeepersoasto notoverlookpivotal design interms alignswithservice ofviewingcommunities (1958)theory approach, Williams’ greater holisticallyfocuseduserdriven designs. From this“usercentred” (Grefé, 2011,p.28) project, however additional scrutinyinto theoriginalclientdesignissuecanpavewaytowards These newlyfoundissuesmayappearproblematic duringthecommencementofadesign whether theywouldconsiderbecomingamember. information coulddetermine howandwhyusersmightwantinteract withthisfootballcluband 43 # 2 That’s not your problem 44 # 2 That’s not your problem contributions. Thisadopted loyaltyisfrequent withinCo-designpractices. this system wasapparent whentheyvoluntarilycontinuedto uploadtheseindividualcultural Instagram site, oftheoutputandaloyaltyto usersofthissocialmediasystem becamepart ontoevent duringtheleadupto theevents itsopeningnight.Byuploadingtheirownartwork many SCA graduate exhibition eventusersengagedinanongoinginteraction withtheexhibition Through agrass roots approach andbyincorporating aspecifictouchpoint suchasInstagram, projects claimingownershipofthefinaloutcometo whichtheyhavemadevaluablecontributions. to use,butwillcontinue to wantto design use.Thiscanbeattributed inservice to participants design outcomesare interactions userdriven.Thisresults inservice thatindividualsnotonlywant from aninnovationperspective”(p.22).Through theapplicationofethnographic methodsservice Innovation, “all customer needsare notcreated equal-notintheeyesofcustomer, and not desires interms oftheSCA graduate exhibition event.For (2010),authorofService Bettencourt of thesepeople.Theyhadaninsiderviewandthorough understandingoftheirneeds,wantsand users oftheexhibition event,theytoo were usersandwere submersedinthecultural framework as socialexperiences. the Thetendesignproject notonlyobserved members oftheliveservice needs, wantsanddesires soasto regard individual,personalaswell assignificanttheireveryday designersgetto lives,service knowtheirusersindividually;to understandtheirof theireveryday Through ethnographicgroup ofpeoplewithinthecontext practices aparticular suchasobserving graduate exhibition event. of Instagram wouldpromote ongoinguserinterest andconsequentattendance to theSCA 2014 page. From thisonlineinteraction, theexhibition designteam intended thatthesocialmediatool that usersphotograph anduploaditonto theirowncreativetheevent’s artwork Instagram continual relationship withusersoftheSCA graduate exhibition event.Theirdigitalconceptasked design, theseup-and-comingdesignersproposed thatthissocialmediatool couldgenerate a also drawing from theirownspecialiseddisciplinessuchasphotomedia, digitalmediaandgame Sector Innovation:Co-Creation foraBetter Society, to describetheprocesses ofco-design”: “Leading cites Publicdesign authorsasco-design.Gregory Bason(2012)inhis journal article, The empatheticprocess ofworkingalongsidecommunitymembershas beendescribedbymany Method Design 3:Co-design Service interviews to video-recordings) ofcitizen interactions to withservices generate Co-creation ispresented astheuseofanumberqualitativetechniques (from school playground. Theteacher couldwrite adifferingnumberinchalkaponeachtyre. With equations. Approximately twentyoldcartyres were halfsubmerged withinthesand pitofthe as someoftheschoolstudents andtogether they designed agameofsolvingmathemathical results. Theco-designteam includedPilloton’s design team, members of theschoolstaffaswell schoolinthis Americantown, had previouslya particular achieved extremely pooracademic was constructed inorder to promote schoolstudentswho,within educationasfunto primary series ofco-designprojects thatsheinitiated withinasmalltown intheUSA.Onesuchproject Design forChange,atOxford UniversityintheUK,shedetailedpractical foundationsofa designtheory.is oneofthesignificantprinciplesservice Duringherpresentation, Teaching Pilloton (2010)istheauthorofseveral publicationsendorsingco-designmethodology, which designthinkingisamoreprocesses sustainableapproach andhowservice fordesignprojects. Emily Pilloton (2010)isadesignerwhoaddresses theissuesoftraditionally practiced design design workingtogether inthedesigndevelopmentprocess” (p.6)(seeFigure 2.3.). use co-designinabroader senseto refer to thecreativity ofdesignersandpeoplenottrained in “Co-design refers, forsomepeople,to thecollectivecreativity ofcollaborating designers. We Ers &Stappers (2008),suggestthatcitizens getmore deeplyinvolvedinthedesignprocesses: solutions baseduponnewinsightinto userperspectives.(pp.131-132)

Figure 2.3. connected to thecentral project concept. together diagram. Theusersandthemulti-disciplinesdesign A co-designproject framework isillustrated inthis and from are thisarrangement, allparties 45 # 2 That’s not your problem 46 # 2 That’s not your problem a thorough knowledgeofthecommunityandexperience firsthandthelivesandenvironment that “inorder to accurately understandacommunity’s to needs,itisextremely gain important the designprocess. Andrew Shea(2012)wrote inhisbook,Designingfor SocialChange, the SCA graduate exhibition eventprovided astrong foundationfrom whichto commence within theirstudentcommunity. Intimate accessto howthesepeoplewanted to experience for theexhibition eventbuttheywere alsosurrounded bythepointsofviewotherusers exhibition event.Theseusers,notonlyshared theirownperspectiveonwantsandneeds project asthemajorityofexhibition designteam were alsousers oftheSCA graduate designCo-designing witheventuserswasimplicitwithintheworkprocesses oftheliveservice rendered thesecustomised designoutcomesas‘original’. solutions whichwere specificto theneeds andwantsofthepeopleinthistown, whichinturn letting appropriate solutionsemerge from within”(2010).Thisproject involveddevelopingdesign to thesolutions.“It’s notaboutdesigningfortheclientanymore butdesigningforpeopleand ownership oftheimplemented designprojects, whichinturn,created a natural sustainability designmethodologywasthatthelocalcommunitydevelopedof implementingthisservice once foundcouldsitonit,determining themthevictor ofthegame.Onepositiveoutcomes seven plusnine?”. Thestudentscouldthenrunandfindthetyre withthecorrect answerand ready toeveryone play, theteacher couldcalloutamathematicalequation,suchas“whatis Figure 2.4. by other designers butalsousersandwere constantlysurrounded immersive methodofempathyforthe project. Theywere The SCA graduate exhibition designteam engaged inan users duringthelead upto theevent. PH.25 pg.34). contributed toartwork thevisualidentityofexhibition eventontheSCA Instragram site (see opening. Theymaintainedasustainedinterest intheInstagram outputandtheiruploadedcreative andbeyond.Thisconceptkept users,asintended,industry engagedwiththeeventupuntilits Instagram fortheduration oftheexhibition campaignto showcasetheirskillsto theirpeers, to designdrivensocialmediaconcept.Manyuserscontinuallyuploadedtheirartwork service touchpoint fortheSCA 2014graduate inthe exhibition project, sawsubstantialparticipation From usingaco-designstructure inthisway, theexhibition designteams’ resulting Instagram design project. rest oftheexhibition designteam were ableto workalongsidefortheduration oftheliveservice background toothereventusersandwere alsothecommunitymembersforwhich observe The exhibition designteam, via these ethnographic approaches, were ableto bothfadeinto the the community”(p.13). whileatothertimesyouneedtobackground andobserve, worksidebywithmembersof suggests atwo-pronged approach bysayingthat“sometimesyoumayneedto fadeinto the in hisorhernatural environment” (p.132).Shea(2012)confirmsthisasaneffectivemethodand subject inaplacewithnodistractions eachaudiencemember oroutsideinfluences,[to] observe ethnographic study, thoughstillmore subjectivethanactualpurchase data,canworkwitheach provides “only asketch ofwhatapotential buyerthinks”(p.130).Instead sheproposes that“an develop anunderstandingofwhatconsumersmightneedbutasJedlicka(2010)pointsout,this Figure 2.4.).Focus groups havebeenusedregularly inthepastbymarketers ofproducts to ways inwhichyoucanexperience acommunityandthepeoplewhoexist withinit(p.13)(see of communitymembers”(p.13).Heusedtheterm “immersion”(p.13)to describethemany PH.29 PH.31 PH.32 47 # 2 That’s not your problem PH.30

PH.33 #3 Many Hands Make Light Work: Communicating the Concept... Communicating the Additional Disciplines + + Additional Disciplines PH.38 PH.36 PH.34 50 # 3 Many Hands Make Light Work PH.35 PH.37 theory identifiedsuch as“unbridgeabledivisionsbetween transmittertheory and audience”(1958,p.88). process viatheuseofprototypes canhelpto reduce theimpact ofissuesthatRaymondWilliams and overall project conceptto the client.Itseemsthatincorporating theclientinto the design claimedthattheirprototypesthe testing. Oneparticipant assisted inexplaining theirdesignideas onthebenefitsofinvolvingclientduringthisprocess sothatthey commentary too canwitness was valuablefordiscoveringunforeseen issueswithintheirproject. Four added participants been previously unapparent thatprototyping (seeFigure asserted 3.1.pg.50).Several participants project andalsoto uncoveranyissueswiththeseconceptswhich,withoutprototyping, mayhave to designproject conceptsto clarifytheservice allofthepeoplewhoare workingonaparticular (which canincludehandmademodelsoftheproposed conceptideas).Prototyping canbeused formats (whichcanincludesketches oftheproposed conceptideas)orthree dimensionalformats designprojects, isthetestingis typicalamongservice ofdesignconceptsin two dimensional recognised the immediateFive outofsixparticipants value prototyping. Prototyping, which explain anyofthesemethods?” “You havebeen introduced todiffering methodstoapproach designissues.Canyou methods, andthentranslate theirprocess. Iputto them: to interpretDuring interviewtwo,Iasked participants design anyoftheintroduced service Method Design 4:PrototypingService design methods. practices hadoccurred sinceintroducing the service determine ifashifttowards more holistic user-focused designers inPerth, Western Australia, Inow wanted to current work practices ofthese up-and-cominggraphic Having uncovered this ascommonplace amongthe output, such asawebsite, poster orbusinesscard. design processes shouldrevolve around arequested participants donotquestionthe client brieforthat I have now established that the majority ofmy research 51 # 3 Many Hands Make Light Work 52 # 3 Many Hands Make Light Work many areas of service designatIDEOincluding “businessmodelprototyping,many areas ofservice data visualization, ourselves through meansbeyondwords orsymbols”(¶.7).These skillsare beingapplied to patterns, to constructideasthatare emotionallymeaningfulaswellfunctional,and to express techniques ofgraphic designersamonghisfirmwiththeir“ability to beintuitive,to recognize BrownTim (2014),president andCEO, illustrates thevalueofspecialisedmethodsand practices internationally, incorporates therole ofthegraphic designeramongtheirprojects. practices. “IDEO, ADesignandInnovation ConsultingFirm,”(n.d) to design thefore ofservice are pushingtheirskillsetinorder to demonstrate howtheycancontribute amongtheseevolving designthinkingcontinuestoAs service take amore recognisable formglobally, graphic designers designcontext.within theservice can visualisetheirideasandthisprocess isjustoneofthevaluableskillsthat theycanoffer thesecreativeportray ideasinamore transparent waywhenusingprototypes. Graphic designers the individualmeaningsare thedesignconceptsandfrom thispointofview, designerscan meanings, andwithmakingthesemeaningscommon”(p.96).From agraphic designperspective declares that“Athe senderandreceiver ofinformation.Williams writer’s jobiswithindividual more transparent methodofmessagetransmission soasto avoidmisinterpretations between promotesWilliams abreaking downofculturally constructed communicativewallsto reveal a Figure 3.1. Prototypes are usedto test project conceptsto findssues require examination andtherefore testing. diagram represent thespectrumofproject areas which which are unforeseen. Themultitudeofdotswithinthis similar papertypeto theproposed printed versionsothattheclientcouldunderstandscale We also showcasedamockcatalogueprototype (three dimensional) whichwasmadefrom a the exhibition eventwouldlookwithinthistouchpoint (suchashowthe imageswouldbeplaced). multiple sketches (twodimensional),whichwere usefulto reveal howthevisualcomponentsof to theclientwithuseofprototypes (seePH.24pg.34).Theseprototypes were shown as From designfoundation,anewcataloguewasdevelopedanddemonstrated thisservice Arts. the exhibition eventaswellanongoingconnectionwiththeSchoolofCommunications and promotional touchpoint butalsoonewhichwouldprovide userswithasustainedinteraction with thisinmind, wethereforeperspective. With wanted to produce anhistorically understood readily disposableandtherefore unsustainable,from bothanenvironmental andalsopromotional the approximately A1previously printed brochure wasfoundby theexhibition design team to be multiple disciplineswithintheacademicstudentbodyof SCA. Inadditionto thisvitaldata, a widelyrecognised printed worksfrom formatwhich usersunderstood asashowcaseofart revealed thattheexisting atall.Thisinquiry exhibition wasnecessary brochureof artefact was questionsastoways to whetherthiskind deliverthiskind ofeventinformationandposingfurther included talkingwitheventusersaboutthepreviously produced researching artefact, alternate (see PH.64pg.70).Adeepenedinvestigationinto fortheexhibition event thistypeofartefact range ofdisciplinesfrom withintheSCA, were previously delivered inalarge brochure format For example, theexhibition catalogues,whichare usedto showcasestudentworkfrom awide project whichcouldhavebeenpossiblyoverlooked. method wasintrinsicto theexhibition event touchpoints asitalsoexposed issueswithinthe outcomes withoutinvestingtoodesign muchtimeormoneyintheearlyphases.Thisservice would look.Theprototypes delivered aclearmessage ofwhatwaspossibleinterms ofdesign their SCA graduate exhibition eventideasanddemonstrate howtheresulting touchpoints Using blackandwhite aswellcoloured drawings, thisprocess allowedthem to clearlyexplain of theSCA (ortheSCA exhibition client)were bolstered bythedemonstration oftheirprototypes. meeting environment. Verbal explanations oftheirproject conceptsto thesenioracademicstaff to theclient.Theexhibition group detailedtheirdesign issuesandresulting designideaswithina test theirproject designs.Thesevisualdeviceswere alsousedto clarifytheirproject concepts Just like thedesigners atIDEO, theexhibition designteam developedaseriesofprototypes to move farbeyondthetraditional graphic outcomesofthepast. designartefact-driven innovation strategy, organizational design,qualitativeandquantitativeresearch” (¶.8).Theseroles 53 # 3 Many Hands Make Light Work 54 # 3 Many Hands Make Light Work project. Itwasintheformofcultural diversityofeventusersandthis‘common meaning’ design practicesthat a‘commonmeaning’was foundamongtheservice oftheSCA exhibition original project playingcards catalogueconcept.Anevaluationof vital conceptfeedbackmeant concept couldbeinterpreted inconnectionwithgambling,resulted inanamendmentto the the SCA graduate exhibition project), alongwiththeaccompanyingdebate ofhowthecatalogue The visualpresentation oftheexhibition project prototypes to senioracademicstaff(theclientof decipher theentire range oftouchpoints fortheSCA 2014graduate exhibition event. detailofa people’swhimsical andthatevery dailyhabitsisrelevant interms ofhowuserswould From thisoutlook,itcanbedetermined thatnocultural contributionshouldbeconsidered trivial cultural detailsinregards to howthecatalogueoutputwouldbeunderstood byitsusers. project astheexhibition designteamofseemingly couldhaveeasilyoverlooked theimportance and writingthemselvesinto theland”(p.96).Thistext creates aparallel to design theliveservice its growth isanactivedebate andamendmentunderpressures ofexperience, contact,discovery declaring that,“themakingofasocietyisthefindingcommonmeaningsanddirections, and has itsownshape,purposes,meanings”(p.96).Andhereinforces thisremark by (1958)viewofhowcultures shouldbeinterpreted.Williams’ Hestates humansociety that“Every design direction dramatically. From thisaspect, analignmentcanbemadewiththecontext of concept andtheresulting sharingofmeaningfulinformationfortheproject, changeditsinitial designmethodofprototypingThe service enabledanintense analysisoftheexhibition catalogue concepts usingprototypes. information suchasthiswasonlygaineddueto aconcisevisualdemonstration ofthedesign its staff,studentsandtheirfamiliesaswellsister schoolsininternational locations.Vital project backgrounds around theworld.Thiswasvaluableinsight,asSCA isculturally diverse interms of gambling dueto their usagewithingamblingculture, whichisviewednegativelybymanycultural SCA senioracademicstaff pointed outhowplayingcards couldbeviewedinconnectionwith presentation oftheprototypes to theclient,thatcultural sensitivitycouldbeanissue.Oneofthe after viewing.However,or disposedofshortly itwasbrought to ourattention, duringthe usage ofthecatalogueinstead ofitsmore traditional use,which sawtheoutputeithershelved ongoing exposure to thecataloguecontent. Thecards were developedto promote asustained The ideawasthatuserscouldplaywiththemregularly inamyriadofwayswhichprovided This newconceptwasaninteractive formatasitsdesignrevolved around asetofplayingcards. how itworked. as wellthetexture oftheintended Theycouldtouch artefact. andfeelthisprototype to see before: asthesumofalltouchpoints” (p.15). that “a companycoulddefineitsbrand inaperhapsdifferent-but much-more-tangible waythan communicates” amessage.Everything company andtherest(p.14),adding oftheworldcarry “Yourhis article, IsYour Service Brand InAction”, bystating:“All thetouchpoints betweenthe ofthisuser-centred system(p. 146).Benchmann(2011)summariestheimportance service in forinterconnectingthe systems viewsees themasopportunities theworldbacktogether again” “Rather thanseeingdesignproblems assomethingto bedivideddowninto thesmallestbits, Jedlicka (2010)addsthatdesignersshouldconsiderprojects through anholisticperspective: 382). Theseoutcomesareofthepast. nolongertheartefacts intoobservations insights,andinsightsinto thatwillimprove theproducts lives”(p. andservices design:“tothat designersare capableofdeliveringsubstantialoutcomesservice translate connecting touchpoints fortheSCA 2014graduate exhibition event.Brown &Katz(2011)declare would nowbeincorporated into theamendedSCA cataloguetouchpoint aswellallother functioning designpropositions” (p.78). how graphic informationandculturally coinedvisualcodesworkisvaluableforcreating designcontext:among withintheservice “Thespecialperspectivetheypossessininterpreting Design Thinking,pointoutinspecificdetailhowvaluablegraphicis Service designerscanbe deliver concisemessagesabout aproject. Stickdorn, M.&Schneider, J.(2011),authorsofThis byvisually constructinginformationusing‘systems ofseeing’(Medley,go muchfurther 2012)to we candemonstrate thecriticalinformationofprojects. However, graphic designersare ableto Sketches, illustrations, three dimensionalmodelsandsoonare justsomeofthewaysinwhich tool whichreinforcesa powerful designedideasandmake aproject clearer to allwhoviewit. designprocess whereof theservice agraphic designers’skillsetisvaluable.Aprototype is Graphic designerscanvisuallydemonstrate concepts,andprototypes are justonemethod Organisation ofInformation Method Design 5: Service Visual (Buchanan, 2001cited inStickdorn &Schneider, 2011)(p.56). offerings. asplatformsforexperiences,and products functionalityandserver serve Design isarguably nowfocusedontheinteractions betweenpeople andtechnology, The designofobjectsisnolongerrestricted to form,function,material and production. 55 # 3 Many Hands Make Light Work 56 # 3 Many Hands Make Light Work “I can’t really explain things am trying to do”am trying visually whatI need to see people..they by talking to Why didyou visually information?: present the project Western Australia, andfitsinsteaddesign context: withinaservice “Design’s role isto illustrate the existing disciplineofgraphic designwhichiscurrently determined inPerth, byartefacts work andhowitwouldconnect withitsusersviatheproject touchpoints. Thisgoesfarbeyond The clientcouldviewthesepanels inorder to grasp howthisintendedsystem service would panels) to incorporate theentire range ofproposed exhibition eventtouchpoints (PH.38pg.48). design team constructed avisuallyorganised informationsystem (intheformofseveral A1printed work. Usingtraditional graphic designtechniques suchasthosementionedabove,theexhibition arrangement inorder fortheclientto system understandhowtheirservice conceptswould (or prototypes) buttheyalsoneededto present thisinformationwithinanorganised visual only didtheyneedto visuallyexplain theproject deliverables withsketches andillustrations to designproject. Not assisttheirclientinunderstandingthemanyaspectsofliveservice The SCA graduate exhibition designteam alsohad to visuallyorganise theirproject information identified inthisresearch. thesis intheunderstandinghistoric graphic designpractices, designmethods thesevenservice the visualdiagrammatic system andthesepictures havebeendeveloped to assistreaders ofthis create avisualidentitywhichconnects them together. There are ten diagrams whichcomplete graphic designtechniques suchastypography, diagrams, grids,colourtheory, etc.inorder to and visuallyrepresent complicated information(seefigure 3.2).Ihaveconstructed themusing The diagrams withinthistext are anexample ofhowgraphic designskillscanbeusedto organise Figure 3.2.Thisdiagram illustrates howgraphic designerscan allows all parties to comprehendallows allparties theproject data. visually organise complex project informationwhich 57 # 3 Many Hands Make Light Work 58 # 3 Many Hands Make Light Work until thegraphic designerfeelstheyare resolved. Theeventualrevealing ofproject concepts Historical graphic design practices haveseenno disclosure of thedesignconceptsto theclient apparent thatclientsshouldbeinvolvedinaco-design process early intheproject timeline. (Stickdorn &Schneider, 2011,p.67)isvitalto makingtheproject clearto theclient,itisalso Whilst avisualorganisation ofinformationviathe “representation ofthecomplexity ofthesystem” essential role thatgraphic designhastoframework. playinthisservice design skillswhichare neededinorder to resolve theirdesignissueandtheycanfathomthe towards thefinaloutcomesdemonstrates thevalueofthatprocess. Theycanseetheextensive game-changing potential” (p.381).Showingtheclientalldrawings ofthedesignprocess process, theirrole is“strategic; itpulls‘‘design’’outofthestudioandunleashesitsdisruptive, (p.381)andtheystate thatwhentheyare movedtoone step thebeginningofdesign further” the endofdesignprocess, theirrole “istactical;itbuildsonwhatexists andusuallymovesit will workinpractice” (p.78).Brown &Katz(2011)pointoutthatwhenthegraphic designerisat “Graphic designershaveadistinctivevisualimaginationandthinkearlyabouthowplannedidea perspectives” (p.146).Stickdorn &Schneider(2011)endorsethesecommentsbyaddingthat According to Jedlicka(2010),graphic designerscanapply“a bigpicture viewthatincludesother sometimes alongsidethewriter, sometimesexploring otherpossibilitiesindependently”(p.122). research“The designerundertakes andtherefinement ofideasfrom theproject’s inception, intrinsic decisionshavebeenmade.Poynor cites Mau(2000)whoproposed thissameview: Instead theyare positionedatthebeginning, allowingcreative methodsto haveaffectbefore any the conceptprocess, where adesignerwouldmake analready conceivedproduct lookgood. development process” (p.381).Thisprocess removes thegraphic designerfrom theendof the mostprogressive organisations are challengingusto create ideasattheoutsetof “Today, rather thanenlistingdesignersto make analready developedideamore attractive, “Change ByDesign”whichwasincludedintheJournalOfProduct InnovationManagement: Brown &Katz(2011)discusstheresults ofthechangingrole ofgraphic designintheirarticle areas. forget to argue fortherelevance oftheirdesignfoundationswithinthesenew interdisciplinary traditional drivenprocesses artefact ofprevious yearsbutalsowarngraphic designers to not of graphic designamonglarger communitybasedprojects. Theyendorse themovebeyond design authorspushthevalueofspecialisedskillsdesignersandpromote theintergration the addedvaluethatproduct bringsto thecompany”(2011,p.67).Prominent graphic and represent thecomplexity ofthesystem to make itmore understandableaswellrepresent importance amonglarger design. designprocesses suchasservice importance uncovered inprevious chapters aboutthechangingrole ofgraphic designersandtheirincreasing outset ofthedevelopmentprocess” (p.381).This statement confirms whatthisresearch has idea more attractive, themostprogressive organizations are challengingusto create ideasatthe Innovation Management:“Today, rather thanenlistingdesignersto make analready developed “Change ByDesign”whichwasincludedintheJournalOfProductdesigner intheirarticle Brown &Katz(2011)discusstheinternationally prevailing changesintherole ofthegraphic to produce artefacts. skills canbeincorporated designprocess andnotjustattheend stageof theservice into every graphic designcontext, designworkmethodsearlyonwithintheservice wecanshowhowour designproject.designers canofferthroughout Through thecourseofaservice atransparency of benefitisthatitcanalsoaffirmtheextensivep.88) avoided.Asecondary skillsetthatgraphic environment andavoids“unbridgeabledivisionsbetweentransmitter andaudience”(Williams, Exposing to theclient project concepts intheirdevelopmentalstages,creates alucidproject directions. Importantly, changescanbemadeearly, before time andmoneyare heavilyinvested. of theproject, itispossibleto reduce potential difficultiesinconvincingtheclientofnewproject design project timeline.From establishingaco-designrelationship withtheclientnearonset it isclearthattheclientmeetingshouldhavebeenscheduledearlieronduringliveservice clients after theyhave beendevelopedandnotduringthedesigningprocesses. Inhindsight, completed designjobs. Mygraphic designpractices hadoften involvedpresenting conceptsto I too hadencountered sucharesponse from aclientwhenreflecting uponmyownpreviously touchpoint. event, whichwasalmostA4initsfinishedsize. Theclientwassurprisedbythecontrast inthis was dramatically different from thelarge formatbrochure designfrom theprevious exhibition new playingcard design,whichwasapproximately A6initsfoldeddown(orfinished)size, of whichwasto showcasestudentworkfrom amultitudeofdisciplineswithintheSCA. The staff oftheSCA), theexhibition designgroup presented theircatalogueconcept,thepurpose experienced this first hand.Duringtheproject meetingwiththeclient(thesenioracademic to theclientduringthisscenariocanbemetwithmixed reactions. Theexhibition designteam M. &Schneider, J.(2011).(p.77). surface.”not lieinstickingapreviously developedlogooneachandevery Stickdorn, to understand thattherole“It isnonethelessimportant of graphic designerdoes 59 # 3 Many Hands Make Light Work 60 # 3 Many Hands Make Light Work their owndiscipline,were notfamiliar. For example, one thedesignconceptsforSCA 2014 be consulted whentechnical project issuesarose forwhichtheexhibition designteam, within administration, security, maintenance Amyriadofskilledindividualscould andevenhorticulture. writing,marketing, project management,event includedadditionaldisciplines suchasvisualarts, game design.Theextended framework multi-disciplinary oftheSCA 2014graduate exhibition from varieddisciplinessuchasphotography, spatialdesign,digitalmedia,graphic designand structure oftheexhibitionAmong themulti-disciplinary designteam, thetechnical skillscame gathers together specific disciplinessoas to accesstheirspecialisedskillswhenneeded. incorporating theuserwithindesigningprocess. designframework Instead, amulti-disciplinary in chapter twoofthis research ismore designauthors,as recently definedbyleadingservice collective creativity ofcollaborating designers”(Ers&Stappers, 2008,p.6)and,asestablished figure 3.3.).Thisstructure isdifferent from co-designwhich,forsomepeople, refers “to the disciplines withinasingleproject inanaimto draw from arange oftechnical backgrounds (see designliterature,global service design.Thismethodincorporates ismulti-disciplinary many designmethods,whichiswrittenOne ofthemostprominent service aboutconsistently among Structures Design Multi-Disciplinary Method Design 6:Service Figure 3.3. Multi-disciplinary frameworksMulti-disciplinary combinediffereing disciplines other aswellto thecentral project concept. this diagram byalldisciplinesconnectingto each to formonecohesiveproject group. Thisisillustrated in of thegroup memberswasaphotographer, another wasawebsite designerandtheparticipant and mentoring workshopforalocalfootballclub (asmentionedinchapter 2ofthisthesis).One design group aided their projectservice concept. Thisteam were designinganewsletter, website sharedclarifying complex howthescopeofdisciplineswithinher project issues.Oneparticipant needed; andanexposure oftheproject issuesto abroad range ofeyeswhichcanassistin areas oftheproject whereload sothatthesespecialistdisciplinescanfocuson particular a widerange ofskillsetsto accessforspecificproject parameters; sharingoftheproject work generated from asingledisciplinesuchasgraphic design.Thiswascredited to several factors: to designapproaches, thedevelopedoutputsare greater ininnovationthanthoseconcepts wasthat,whenabroad rangeThe consensusamongallparticipants ofdisciplines contributed concepts dueto thevarietyofinputs”. for theoutput”. Anothersaid“ideaswere investigated more whichresulted inmore effective benefits ofworking together. One describedapositiveoutcomeas “allowing youabroader scope personalities andtherefore howeveragreed opposingpointsofview. to Allparticipants themany working individually. concludedthereason forthisisdiffering Themajorityofparticipants work orfoundthatissuesarose duethecollaborative process whichwouldn’thaveoccurred were eitherhesitantto worktogether dueto previous negativeexperiences ofmulti-disciplinary relationships neededto bein‘sync’for thegroup dynamic to succeed”. Fiveoutofsixparticipants unknown personalitiesinregards to theirprojects workcolleagues.Theydeclared that“working individually. Two disclosedtheinitialdifficultiesofworkingintandemwith otherparticipants to forgemulti-disciplinarily wastheopportunity stronger designconceptsthanthoseconstructed revelled inthegroup workenvironmentOne participant andstated thatthevalueofworking “Does workingcollaborativelyassistininnovatingthedesignoutcome?” them duringinterviewtwo: designprojects, structure Iasked helpfulwhendevelopingtheirownservice a multi-disciplinary was successfullyproduced (seePH.9pg.6).To considered findoutwhether research participants from in building sculptural similar materials,had expertise artworks were consulted and the furniture little experience interms offurniture constructionusingsuchmaterial. who Therefore, visualartists deconstruction after theclosure oftheexhibition event.Theexhibition team designershadvery low impactontheenvironment aswellsimpleconstructionbefore theeventandalsosimple This touchpoint wasdesignedusingwoodenpackingpallets.Thesewere re-used to ensure guests to areas rest around andrelax the showduringtheeventsopeningnight. inparticular graduate exhibition eventwassustainablefurniture. Thisideawasdevelopedto allowevent 61 # 3 Many Hands Make Light Work 62 # 3 Many Hands Make Light Work possible problems whichcanemerge design structure. from withinamulti-disciplinary analysis andtherefore understanding intermsfurther ofnavigating workingrelationships andthe from themismissingamongtheinternational designers.Itrequires conversationbyleadingservice This evaluationofcollaborative workarrangements andthesubsequentissueswhichmay arise to mybroad designexperience uponwhichtheseup-and-comingdesignersdonothave to draw. issueswerereached. onlyeasilyremedied Howeveritalsoseemedthatthesemulti-disciplinary due environment ismaneuvered andconsequentlyhowasuccessfulorinnovativedesignoutcome proved asvaluablecontributionsfortheSCA exhibition design project onhowamulti-disciplinary From mypointofview, itappeared thatmygained experience in thefieldofgraphic design focus ontheproject andnotonthemissinggroup member. compensate fortheteam member’s lackofattendance andadvisedthattheexhibition designteam pathways to resolving theseissues.Inthisscenario,Iadvisedonare-distribution oftheworkloadto with manydifferent peoplesoas to advisethe exhibition design team ofthepossibleavailable contributing theirshare oftheworkload.Iwasabledraw onmymanyyearsofworkingindesign an issuearose where agroup memberwasnotattending project meetingsandconsequently not designprojectdesigners andpropel alongitstimeline.Thisrole theliveservice proved crucialwhen useful interms ofdrawing onmyaccumulated designexperiences to mentor theup-and-coming point ofaccessbetweentheadditionaldisciplinesandexhibition designteam. Thispositionwas game design.Throughout theproject’s duration director Ipreformed therole ofart soasto create a backgrounds suchasgraphic design,spatialphotomedia, game design,digitalmediaand designproject, aspreviouslyThe liveservice mentioned,consisted often designersfrom various graphic designarose asvaluablecultural project framework. contributionsforourmulti-disciplinary For theexhibition designteam, myowngathered extensive experience fieldof from mydisciplinary contribution canbeoffered byindividualsfrom aspectrumofdisciplines. designcontext,be considered aservice whenassessingasocietalgroup. thisvaluable Within personwithinaculture canprovideeach andevery valuableindividualexperiences whichshould individual andwhatthispersoncanoffer to awidercultural framework. His argument proposes that (1958)theory,26). RaymondWilliams’ “Culture isOrdinary”, addresses theintrinsicvalueof in complexity andthattheyrequire multipledisciplinesto achievesimple, authentic solutions(p. designers inthe21stcentury. Grefé (2011)contends thatdesignproblems are everincreasing Grefé (2011),author ofExperienceDesignistheOnlyDesign,discusseschallengesfacing technical from withintheirownskillsettodesignproject. expertise Richard thebenefittheirservice The individualdisciplineswithinthiscollectionofpeoplewere ableto offerspecificknowledgeand stateddevelopment ofthisgroup projectthat“Ourresources whentheparticipant expanded”. herself, wasagraphic designer. framework Thismulti-disciplinary wasconsidered valuableto the #4 The Pretty Things: Live Service Results... Live Design Project PH.39 PH.40

PH.41 PH.42 PH.43

PH.44 PH.45 the SCA graduate exhibition event’. of earlyinvestigationinto theinitialdesignproblem of‘howto getusersto positivelyexperience outputs designedfortheSCA graduate exhibition event.These touchpoints were theoutcomes consequences oftheinclusiontheirspecialisedskillsethas resulted inanextensive range of The incorporation ofgraphic system designerswithinaservice arrangement andthepositive positive userexperience. is considered aseffectiveor‘good’designwhentheseholisticallydrivenoutcomes ensure a system designoutcomeservice thatuserscancomprehend andaccesswithease.Thisservice to deliveranextensive range ofconnectingtouchpoints, thattogether, formabroad identifiable in thisresearch, are usedto strategically designaround thismoment.The aim ofsuchdesignis designmethods,suchasthoserecognised Service contact withitsdesignedproduct orservice. system, possiblemomentwhere instead ausermaycomeinto itconsiderseachandevery designpractice Service with aproduct doesnotmerely foraservice orservice. designartefacts graduate exhibition event.Touchpoints are themomentswhere theuserscomeinto contact will alsoillustrate 2014 thedesignedtouchpoints oftheSchoolCommunicationsandArts holistically user-focused outcomeswere designproject. reached Thissection fortheliveservice This chapter willreveal theeffectsofgraphic designcontext designwithintheservice and how Method Design 7: Service Touchpoints larger userexperience. furniture, appliances orposters) as ‘touchpoints’ ina produced for system this (whether service these are demonstrated inthis research, itregards the artefacts fields ofdesign,andinparticular graphic design,as generally designcanencompass all speaking,service While nocomplete consensusexistsonitsdefinition, designhaveservice beeninthe makingfor decades. as the However, labelisconcerned. the principles of designisarelativelyService newdesignpractice asfar 65 #4 The Pretty Things 66 #4 The Pretty Things “I amsure Ionly designers cando” of what graphic of the extent a portion understand graphic designerscando?: demonstrated what Has this project - - - Banners - Flyers - Posters - Invitations - Catalogues PRINTED VISUAL IDENTITY were considered designinnovationsfortheSCA 2014graduate exhibition event. demonstrate whythese outcomes,whichwere theproducts designsystem, ofacomplex service to illustrate howtheexhibition designteam developedtheseusercontactmoments. Iwillalso From thisextensive listofoutputs,Iwillcomplete anevaluationofthree key touchpoints inorder focused touchpoints: information, theexhibition designteam were ableto system developthefollowingservice ofuser- prototyping; designstructure; co-designandavisualorganization amulti-disciplinary ofproject designmethods,suchasempathy;aredefinitionThrough ofdesignissues; applyingservice Maps (Handheld) Maps (Posters) Figure 4.1.

The SCA 2014graduate exhibition eventistheproject users connectto thiscentral point. surrounding inthemiddleofdiagram(or service) andthe - - - - ONLINE - - Volunteers - T-shirts - Speeches HUMAN Facebook Page Email Campaigns 2x Instagram Promotions 2x Websites SCA Reception touchpoints are themomentswhere - - Projections - - - - SPATIAL Talking Wall Interactive Area Drink Areas Food Areas Floor Navigation Exhibition Spaces 67 #4 The Pretty Things PH.46

PH.47 P.48

P.27PH.49 PH.50 PH.51 approximately twentycentimetres indiameter, centimetres were inaline(see sprayed thirty every (a pieceofcardboard withthecircular designpattern imagecutout).Thesedots,whichwere The red Designdotswere thenchalksprayed onto theground via theuseofalasercuttemplate example, sothatuserscouldeasilyidentifyeach oftheeightacademicareas withintheshow. identity wasincorporated into asmanyevent touchpoints as possible, suchasthecataloguefor given thecolourred andincludedtheword ‘design’withinthecentre ofitspattern. Thisvisual own colourandexhibition area title.TheDesignexhibition navigationpattern forexample, was represent eachoftheeightexhibition areas oftheeventforusersto locate. Eachpattern hadits team’s graphic designersdevelopedeightcircular navigationpatterns whichwere designedto to apply, andeasilyremoved consistentwithwater whenneeded.The uponallfloorsurfaces plausible mediumforapplyingtheeventnavigation.Testing ofthepaintrevealed thatitwas easy investigationintoFurther thisissuebytheexhibition designteam sawchalkspray emerge asa wayfinding system andnavigate. forusersto try have resulted inavisuallydisconnected navigationsystem andconsequentlyan intermittent which thelabelswouldnotadhere to consistently. Anapplicationsuchasremovable labelswould successful forindoorareas butnotoutdoorareas typeson dueto therange surface invarying for onlytwoweeksoftheyear, aremovable adhesivelabelsystem wasprototyped. Itproved floors whichuserscouldfollowto theirdestination.AstheSCA graduate exhibition eventruns way. Onewayfindinginstallationfortheevent,consisted ofaseriescoloured linespainted on positioned onfloorsorwallsinpublicbuildings,suchashospitals,to enableusersto findtheir incorporated permanentconstructiontechniques. Theseincludedimperishablepaintorlabels exhibition event.Theteams’ research revealed thatthemosteffectiveexamples ofnavigation The exhibition designteam also wanted to ensure thatusersrecognized eacharea oftheSCA which wasvisiblefrom mostareas withintheeventandwaslinked byacentral concourse. system,focused service theeventspacewasdesignedto rotate around onemainoutdoorarea oftheshow.decreased sothatuserswouldbelesslikely Inorder missparts to create auser- event’s overall footprint.Pathways were simplifiedanddistancesbetweeneventspaces information, theexhibition designteam explored theconceptofreducing thebreadth ofthe areas existed’. areas’ or‘didnotknowthatcertain particular Uncoveringthisessentialuser connecting these.Duringearlyproject research users shared thattheyhad‘difficultyfinding included exhibition rooms, afoodandbeverage zone,speecharea andtheconcourses In previous years, theSCA exhibition eventarea spread across several buildings.Thesespaces Navigation 69 #4 The Pretty Things References PH.55 PH.52 PH.56 PH.54 PH.53 PH.57 unsure ofthemeaningindividually presented Inoneexample, artefacts. ausershared how interpreted thedesignexhibits from previous SCA graduate exhibitions. Userssaidtheyhadbeen design team interviewedprevious eventgoersregarding thisspaceandasked usershowthey spaceandprojecting animated moviesontowithin aparticular atelevision screen. The exhibition This includedhangingprinted booksonracks, placingthree dimensionalmodelsonplinths graduate hadbeeninstalledinasimilarvainto visualarts. exhibitions, theacademicartworks graphic design,spatialanimation,gamedesignanddigitalmedia.Inprevious SCA Design spacewasanexhibition disciplines.This exhibition area zone included unlike otherarts spaces themselves.Itwasdetermined thatfrom theeightacademicexhibition sections,the toproject notoverlookhowusersinteracted timeline,thatitwasimportant withtheexhibition designmethodssuchas empathyandredefining projectapplying service issues earlyoninthe event spaceswithintheshowthrough usingthenavigationsystem. We alsorecognised, from The exhibition designteam hadnowdesignedawayforusersto findtheirwayaround themany Event Spaces enjoyable userexperience. disconnected spaces together, unitingtheSCA graduate exhibition into oneconnected and touchpoint system designednavigationsystem inaction.Theservice tiedthesepreviously they seemedto beenjoying theprocess. Thispositiveresult wasanholisticallyuser-focused floor navigationto their desired destination. Inadditionto efficientlyfindingtheexhibition spaces, son, interpreting ourvisualwayfindingconfiguration byreading themapandthenfollowing the using theexhibition team’s designedsystem. Onecolleaguewitnessedamotherwithher service pg.66) were alsoplacedinprominent areas throughout theexhibition areasassistin to further available to offeradditional assistanceto users.Large maps(A1poster versions) (seePH.51 handed outbyvolunteers, whowere recognisable intheir SCA andwere exhibition eventt-shirts dotted system butonasmallerscale.Handheldmaps(A6insize) (see PH.48pg.66)were The floornavigationsystem byprinted wassupported mapswhichduplicated thiswayfinding was easilyremoved oncetheexhibition eventconcluded. represented, designedwayfindingsystem easilyrecognised andfound.Inaddition,theservice Thetouchpointacross proved allsurfaces. successful,withallexhibition areas individually was appliedto insidefloorareas aswelloutsideandwithadditionaladhesiveswaseffective grounds andcontinued allthewayto bothdoorsoftheDesignexhibition space.Thechalkspray PH.46, 47,49,50pg.66).Theyleadfrom thecentral hubarea in themiddleofexhibition 71 #4 The Pretty Things PH.58 PH.59 PH.60

PH.61 PH.62

PH.63 PH.64 PH.65 SCA 2013 exhibition catalogue as a powerful artefact. ThisprintedSCA artefact. brochure 2013exhibition catalogueasapowerful wasdelivered ina design methodofprototyping, Iexplained thattheexhibition designteam hadestablishedthe positions withinthesespaces. Inanearliersectionofthisthesis,whichevaluated theservice area forexample, userswere ableto pickupanexhibition catalogue,availablefrom prominent Whilst visitingtheeightindividualacademicareas oftheSCA exhibition event,suchastheDesign Catalogue some oftheseprojects aswelltheirinterest inhowtheycameto be. evident whenseveral eventattendees shared withmetheircorrect evaluationsofthecontext of by theexhibition designteam andpositiveuserexperiences ofthistouchpoint achieved.Thiswas motivations behindthese.Auser-focused, holisticallydrivenexhibition spacehadbeencreated easily distinguishbetweeneachofthenowindividuallyrecognisable exhibits andunderstandthe positions withintheDesignspace,evenwhenitwascrowded (seePH.41pg.62).Userscould allocated panel.Thevaulted a‘project positionsoftheseensured summary’ readability from most the ceilingaboveornext to each exhibit. Allprojects withintheDesign exhibition area were project. Adescriptionoftheproject directive wasprinted inlarge text onanA1panelhungfrom within theproject spacesto explain academicmotivations forwhystudentsdesignedeach In additionto explanation adding anewdepthtopanelswere installed thedisplays,supporting viewers from adistanceandbeviewedfrom allangles(seePH.54pg.68). adjacent to thisexhibit to givetheexplanation aconcrete andtactiledimensionthatcouldattract in theCityofFremantle, wasexplained through A1posters (didactics).Abicyclewaspositioned connection to anexhibit. Onestudent project, whichfocused onanavigationsystem forcyclists three dimensionalitems withintheartefact’s vicinity. Theseitems were eachchosen fortheir and to provoke interest fromdesignissignificant,wepositioned allusersinto whyaparticular flat andoften beoverlooked whenviewed from afar. Inorder to draw the viewer into theexhibit, dimensionally exhibited works.Two dimensionalworks,suchasposters forexample, canappear Design exhibits. Three dimensionalitems were brought into theexhibitiontwo spaceto support The exhibition designteam developed aseriesofinformativedevicesto installalongside intentions to beclearlyunderstood bytheirusers. From thisdata,itwasevidentthattheDesignexhibits required explanation oftheirdesigners’ didn’t know“whoitwasfor?”or“whatthepurposeforstudentsindoingexercise?” they “didn’t understandthesignificanceofaprinted bookdesign”whichwasondisplay. They 73 #4 The Pretty Things 74 #4 The Pretty Things investigation uncovered thatitwas commonplaceto disposeofprinted brochures, suchasthe reflected onourownpersonalusageofbrochures to seeifweall usedtheminasimilarway. This design. We examined many printed brochure to artefacts seehowtheylooked andfelt.We also by testing theexisting brochure whilstincorporating userfeedbackonthe previous catalogue SCA graduate exhibition into event.Thedesignteam thismedium engagedadeepenedenquiry research, avitalpromotional formatdelivery, whichextended beyondtheclosure oftheannual The SCA exhibition cataloguewasfoundto be,duringtheexhibition team’s design service areas. visually connected outputsanddistinguishbetweeneachoftheeightSCA academicexhibition designed approach ensuredpink (seePH.46pg.66)).Thisservice thatusers couldidentifythese the previously mentionednavigationtouchpoint where thewayfindingdesignforWriting wasalso pg.70). Thisvisualsystem wasusedthroughout theexhibition touchpoints (inaccordance with example, wasgiventhecolourpinkandincludedword ‘Writing’ uponitscover(seePH.58 designed logo),anallocated colourandspecificexhibition title.TheWriting cataloguesectionfor catalogue sectioncoverincorporated theunified exhibition event branding (inclusiveof acustom PH.69 pg.76)asopposedto sixtheyearbefore. Inkeeping withtheprevious exhibition, each iPhone. TheSCA 2014 graduate exhibition incorporated academicareas (see eightparticipating phone,suchastheApplepg.70). Thisdesignwasmodeleduponthesize ofawidelyusedsmart intoand yetitsfinalsize astandard fitcomfortably rear jeanpocket orhandbag(seePH.61,62 the amountofcontent ofaprevious cataloguesectiondueto multiplefoldswithinthedesign, to A6forthefinishedsize.down (concertina-style) Eachbrochure sectioncouldstillincorporate new formatconsisted ofastripeighteen panelsprinted back andfront which were thenfolded was designatedinthisyear’s foreach oftheindividualacademicareas show. participating This Catalogue designswere prototyped basedonthesequestionsandapocket sized catalogue or beverages?”. food orbeverages?” andfinally“does theformatactuallyneedto beheldwhenconsumingfood food orbeverages?”. asked “whatsize inquiry Further formatiseasierto holdwhenconsuming team posed:“Howdo youholdanA4folderandkeep itinitsoriginalconditionwhenconsuming holding thecataloguewhilsteatinganddrinking.For thenewcatalogue,exhibition design PH.63, 64pg.70).However, theteam discovered that,dueto itssize, usershaddifficulty an A1printed brochure, whichwasthencross foldedto afinishedsize ofapproximately A4(see incorporated area waspresented Eachdisciplinary sixacademicareas as ofstudentartwork. The brochure couldalsobetaken homeafter attending theevent.Theexisting catalogue widely recognised formatunderstood worksfrom byuserstomultipledisciplines. showcaseart based uponanexisting businesscard box dieline(orshape)thatprinters useasapackaging and wasdevelopedto housethecomplete cataloguerange. was Thenewcataloguecarton In additionto theeightindividualcataloguesections, anoptionalcasingwasavailableto users open ontheirofficedeskswith theiracademicdisciplineto thefore ofthebox. well asafterwards. Someacademicstaff,were seenlongafter theexhibiton closure withthem waysduringtheexhibitionusers were eventas seenenjoyingviewingtheircataloguesinvarying with theprevious SCA exhibition cataloguedesign.Thisoutcomewasnoticeablewhenseveral Its newplayfulformatreduced thepossibilityofimmediate disposalwhichmayhavehadoccurred user-focused cataloguedesignpromoted flexibility andasustainedenjoymentofthistouchpoint. included eitheranimageofexhibit orabodyoftext detailinganexhibiting work.Thisholistic eight cataloguesectionswasdesignated asasingleexhibiting space.Theseindividualpanels style strip;andaseriesofindividualcards (seePH.73pg.78).Finally, eachpanelofanythe viewed inseveral ways:astandard bookformatusingitsfoldedconfiguration; alongcartoon- folding formatofascore lineastheprinter suggested. Thisallowedacataloguesectionto be The individualsectionsofthecataloguewere andnottheconventional foldedviaperforations back. multiple configurations andthateachcard includesadesignated design forbothitsfront and mimicking thesize ofplaying cards, thatplaying cards canbe individually viewedorwithin exhibition cataloguebeingstored permanentlyon ashelf.Instead thesecatalogueideasincluded concept astheystillwanted to incorporate additionalviewingoptionsforusersandto avoidthe this inmind,theexhibition designteam worked with thebasicpremise oftheplayingcards the clientfoundthisto beaninappropriate dueto itslinkto cataloguedelivery gambling.With designmethod4:prototypingexplained intheservice sectionofthisthesis),prototyping with a playingcard system, whichpromoted usersto continuallyplaywiththecards. However(as after theclosure oftheSCA graduate exhibition eventsotheexhibition designteam developed We wanteddesignproject to usersoftheliveservice keep lookingattheircatalogueslong an ongoingconnectionwiththeSchoolofCommunicationsandArts. new versionwouldprovide userswithasustainedinteraction with the exhibition event aswell design team to explore aninnovated versionofthisrecognisable medium.Theconceptofthe usuallyrequireartefacts manycontributors aswellmoneyto print.Thisprompted theexhibition viewings. Historically, printed brochures term areusageeventhoughthese designedforshort take themhomeand thenpackthemawayfrom viewintheirhomeorofficewithnosubsequent SCA graduate after pickingthemup.Itwas also typicalofusersto exhibition catalogue,shortly 75 #4 The Pretty Things 76 #4 The Pretty Things them stickingoutoftheirpocket orhandbag. Users were intheirhandorwith spotted acataloguecarton throughout theeventeithercarrying containing thecomplete range ofeightcatalogue components(seePH.71pg.76,PH.72pg.78). space, theDesigncataloguesectionwasfirstto beviewedwhenuserspicked upthebox appropriate sectionto thefore ofthecataloguecasing.For example, withintheDesignexhibition The catalogueswere availableinmanyspaceswithintheSCA exhibition event,withthe how theywishedto thisinnovated view andalsotransport cataloguetouchpoint. whole cataloguerange case.Theeventguestcoulddecide withinthecustom designed carry inastandard rear jeanpocket,individual cataloguesections,whichwouldfitcomfortably orthe system gavetheviewer theoptionofchoice.Userscouldeithertake anyoralloftheeight fit inastandard designed jeansbackpocket. Howeverthisnewholisticallyfocusedservice consuming foodorbeverages’ into as,wheninserted thisbox, theexhibition cataloguenolonger a challengeforusersattheSCA exhibition event interms of‘howitwouldbeheldwhilst whenever theydesired instead ofthem beingstored awayfrom view. Thiscasingstillpresented to theeightindividual cataloguesections.Thesecontents were onhandto users exhibition catalogue, thisadjustablecontaineroffered eventusersasimilarcontinualaccess (see PH.58,59,60,65pg.70).Indrawing from thisexisting designfortheSCA 2014graduate asastorageperforms containerfrom whichabusinesscard canbeeasilytaken whenrequired of cards from theprinter to theiroffice.Onceitsperforated lidisremoved, however, thecarton device fortheirclient’s businesscards. For users,thebusinesscard box enablessafetransport products andservices. system benefited from incorporating thegraphic designerinterms ofinnovatingitsspectrum of holisticallycommunity-focusedtouchpoints designed andinturn,thiscomplex liveservice designers oftheSCA 2014 graduate exhibition project (seePH.77pg.82)aidedthedevelopment were notagraduating designmethodsto student.Theintroduction ofservice thegraphic recognised whentheeventwasonandthattheywere allowedto attend evenifthey, themselves, his rear jeanspocket sothathedidn’thaveto holdthem inhishand.Mostofall,manyusers to remove theindividualcataloguesections from thecatalogue caseandinstead poptheminto towithin theexhibitionstate cataloguedesign.Oneuserwentfurther thathechosetheoption the navigationandmaps.Multipleusersnoted thattheyenjoyedtheinteractive optionsincluded said thattheycouldeasilyfindtheirwaythrough thevariousexhibition areas oftheshowdueto hung withtheDesignexhibition spacedueto thecontext accompanyingeachwork.Another Several eventusersshared thattheynowunderstood thesignificance oftheprojects thatwere interactions withtheextensive designedsystem. liveservice touchpoints accurately addressed userneedsaswelldesires inorder to generate positiveuser all eventareas ofeventfaciltities.Themajority aswellontheoverall enjoymentandcomfort followed theopeningnight.Event organisers provided feedbackonthesuccessesofnavigating users oftheSCA 2014graduate exhibition event.Arange ofpositivecommentsfrom eventusers user-driven designhaveprovoked methodsofservice agamutofpositiveresponses from the designpracticesThe applicationofservice andthesignificantrole ofgraphic designwithinthe ofall A Summary Touchpoints 77 #4 The Pretty Things PH.66 PH.67

PH.68 PH.69

PH.70 PH.71 Conclusions:

The Round Up... 79 #4 The Pretty Things PH.72

PH.73 PH.74 themselves are notdesigners.Anexample ofthisisglobal consultation company, Deloitte (n.d.). as flyers,brochures andpackaging.Somecompanieseven offerdesignprocesses whenthey money” especiallyifwhatgraphic designersdoistheplethora ofthrow awayproducts such skill set.AsPoynor (2008)points out:“Otherpeoplecandowhatgraphic designersdoforless ata fractionartefacts ofthecostlocalgraphic designerswouldcharge fortheirspecialised that usepre-designed templates, whichchurnoutbusinesscards, websites andotherdesign to intheirprofession. Corporations survive cansource cheapdesignsolutionsfrom agencies Graphic designersalsoneedto moveawayfromdrivenoutcomesiftheyare artefact to continue project. demonstrated inthishonoursresearch design viathedocumentationofasubstantialliveservice design literature, thegraphic designer’s designcontext pivotalrole withinaservice hasbeen Although theextent oftheirspecialisedskillsetisnotinvestigated thoroughly amongservice designframeworkdesigner isseenbysomeasanintegral oftheservice (see figure 5.1.). part frameworks designtakes precedence fortheeffectiveapplicationofservice andthegraphic succinct definitionsare seeminglyunattainable.Instead, thepushforconcisemethodsand has establishedthatdisciplinessuchasgraphic designare complex, designandservice and trend identifiedinthegloballiteratureis animportant andisreflected inthisthesis. Thisresearch The needforchangewithindesignpractices, drivento from artefact broader thinkingapproaches, (p.designing services” 51). of different kinds,are now understood to becentral to people and organisations, andbetween organisations relations between people andother people, between are consistent: value“understanding andthe nature of underlying designliterature themes amongservice (p.little theory-building” 418). Regardless ofthis, the methods andtools these designersuse,butrelatively (2009) insiststhat “there hasbeendescriptionofthe rapid pace (Kueh,Medley&Price,2013, p. 2).Sangiorgi design,ataninternational level, isevolvingService ata 81 Conclusions The Round Up 82 Conclusions The Round Up Figure 5.1. disciplines withinthisproject framework. They are represented amongthemultiple integrated stageoftheproject. into every graphic designerandtheclientare designarrangement,In thisservice the turn addedto theliterature… design framework, ifweare to continue to designatall.The documentationofthisproject mayin work methodsto more holisticallydrivenprocesses, suchasthoseintheemerging service valuable amongcomplex communitybased projects butthere isalsoanurgency to adaptour practices. Thisthesishasfoundthattheskillsetofgraphic designersto notonlybeextremely It hasalsorevealed howgraphic designerscancontribute to theapplicationofuser-focused work practices (yetagain)followingtheintroduction ofanew, design. broader methodologyinservice Hence thisresearch hasexposed howgraphic designersnotonlycanbutneedto changetheir among thegraphic designprocesses oftheirfuture jobs,onedeclared “Ialready am!” terms ofwhethertheseup-and-comingdesignerswouldconsiderincorporating thesemethods looking into designproblems more deeplyandconsideringtheusersofmyoutcomesmore”. In had intrinsicallychangedwhenshesaid“I’vealready noticedthatI’mthinking abitdifferently, i’m off, thatwaslike ‘wellitworked!’”. pointed outthather designapproach Onedesignerinparticular her previous commentsto proclaim “Isaweventguests following ournavigationsowepulledit more resolved oncewereally looked athowpeoplemightusethem”. Shethenelaborated upon working inagroup are somuchbetter becauseofeveryone’s input”and“thedesignswere even whowasalsoontheexhibitionthat“designs designteam,Another participant, putforth from issues whichwedidn’tknowwere there”. prototypes madeitsomucheasierfor us to explain ournewconceptsto theclientandalsofind stated “untilIhadactually experienced them, Ididn’tknowhowcrucialtheywere” and“our alteredshared howthesenewmethodshavecertainly theircreative practices. Oneparticipant as identifiedinthisthesis,theseup-and-cominggraphic designersofPerth, Western Australia wereresearch asked to participants reflect designprocesses onthesevenintroduced service found inthetraditional graphic designcontext, are notdriventowards outcomes.When artefact has revealed thegraphic inprojects which,unlike designers’broad those skillsetandimportance designprojects. designsystem Ananalysisofthiscomplexdesigner amongservice liveservice The SCA 2014graduate exhibition eventwasacleardemonstration oftherole ofthegraphic incorporate whenaddressing designissues,islost. designer, isnowcommon.Intheseinstances,thespecialwaysofworkingthatgraphic designers are thenewcurrency” (2012,¶.4).Thisadoptionofdesignfoundations,withouttheuse and private clients”(¶.8)andtheirwebsite declares; “DesignThinkinganddiversityofthought This company’s to include“audit, services public services tax,consulting,andfinancialadvisory 83 Conclusions The Round Up PH.75 PH.76

PH.77 PH.78 References:

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(2008).It’s theendofgraphic designasweknowit.Eye Magazine,(69).Retrieved PH.26 PH.25 PH.24 PH.23 PH.22 PH.21 PH.20 PH.19 PH.18 PH.17 PH.16 PH.15 PH.14 PH.13 PH.12 PH.11 PH.10 PH.9 PH.8 PH.7 PH.6 PH.5 PH.4 PH.3 PH.2 PH.1 Photographic References Alana Randazzo Alana Randazzo Erica Ormsby Stephanie Adams Stephanie Adams Erica Ormsby Erica Ormsby Stephanie Adams Alana Randazzo Stephanie Adams Erica Ormsby Alana Randazzo Erica Ormsby Erica Ormsby Alana Randazzo Erica Ormsby Emma Weston Alana Randazzo Erica Ormsby Erica Ormsby Erica Ormsby Ryan Ammon Ryan Ammon Erica Ormsby Ryan Ammon Alana Randazzo PH.52 PH.51 PH.50 PH.49 PH.48 PH.47 PH.46 PH.45 PH.44 PH.43 PH.42 PH.41 PH.40 PH.39 PH.38 PH.37 PH.36 PH.35 PH.34 PH.33 PH.32 PH.31 PH.30 PH.29 PH.28 PH.27 Ryan Ammon Erica Ormsby Emma Weston Ryan Ammon Erica Ormsby Erica Ormsby Erica Ormsby Erica Ormsby Ryan Ammon Ryan Ammon Alana Randazzo Erica Ormsby Ryan Ammon Erica Ormsby Erica Ormsby Emma Weston Erica Ormsby Erica Ormsby Erica Ormsby Erica Ormsby Stephanie Adams Ryan Ammon Erica Ormsby Alana Randazzo Erica Ormsby Stephanie Adams PH.78 PH.77 PH.76 PH.75 PH.74 PH.73 PH.72 PH.71 PH.70 PH.69 PH.68 PH.67 PH.66 PH.65 PH.64 PH.63 PH.62 PH.61 PH.60 PH.59 PH.58 PH.57 PH.56 PH.55 PH.54 PH.53 Erica Ormsby Alana Randazzo Erica Ormsby Stephanie Adams Erica Ormsby Erica Ormsby Erica Ormsby Stephanie Adams Erica Ormsby Erica Ormsby Alana Randazzo Ryan Ammon Emma Weston Erica Ormsby Erica Ormsby Erica Ormsby Erica Ormsby Erica Ormsby Erica Ormsby Erica Ormsby Erica Ormsby Erica Ormsby Ryan Ammon Erica Ormsby Erica Ormsby Ryan Ammon 89 References 90 References Diagrams All diagrams designed by EricaOrmsby Figure 3.3.pg.58 Figure 3.1.pg.50 Figure 1.1.pg.25 Figure 2.3.pg.43 Figure 2.1.pg.36 Figure 3.2.pg.55 Figure 5.1.pg.80 Figure 2.4.pg.44 Figure 4.1.pg.65 Figure 2.2.pg.40