Strategies for Visual Research

1

DEVELOP

CONCEPT CHALLENGES.V.R.STRATEGIES FOR VISUAL RESEARCH

intRODuctiOn ....................... 5

DiScOVER ............................... 7

DELVE ..................................... 25

DEfinE ................................... 43

DEVELOP ................................ 65

DELiVER .................................. 83

cOncLuSiOn ......................... 95

4

DEVELOP

CONCEPT CHALLENGE

“This unit focuses on the exploration and development of a range of practical visual research methods useful to graphic design practice. These should be universal methods that can be applied whilst exploring and solving any communication design problem.”

5

This book has been produced in response to the Strategies for Visual Research project undertaken by final year Design for Graphic Communication students at LCC between October 2010 and January 2011.

The project required us to form groups of three to five people and work together in a manner called Problem-Based Learning. Put simply, Problem-Based Learning means learning by doing and sharing. It helps students learn to deal with real-life, ill-defined and structured problems. The hope is that by working in this way now, we will be better prepared for situations we will experience when we enter the design industry.

The main focus of the project was to explore and investigate research methods. The design process was broken down into five research stages: discover, delve, define, develop and deliver.

intRODuctiOnSTRATEGIES FOR VISUAL RESEARCH

= Research MethodR

The book is the result of a collaboration between Adam Burges and Obie Campbell. We had a third team member, Isabella Fernandes, who has produced a separate outcome. The book has two main goals; to document the progress of the project and to highlight the research methods we used. Research methods are denoted by the ‘R’ symbol below.

Throughout the project we kept a blog to archive and share our work. The blog can be visited at www.givingandgetting.tumblr.com

6

AnALySE THE bRIEF

START A bLOG

LIST pOTEnTIAL RESEARCH mETHOdS

SELECT pOSSIbLE CLIEnTS

dEFInE kEy wORdS FROm bRIEF

RESEARCH CLIEnT OnLInE

ESTAbLISH An ACTIOn pLAn

dEFInE THE TRIGGERS

DEVELOP

RESEARCH METHODS USED IN THIS STAGE

7

Investigate research methods that help designers discover design problems and opportunities for creative practice

Weeks 01 and 02 were set aside for working on the discover stage. The goals of the stage were to investigate research methods, conduct initial research into our triggers and start thinking about design problems related to our triggers.

We spent the first week getting a group together and selecting our triggers. In addition to this, our group complicated matters slightly by deciding that we wanted to use the project as an opportunity to enter a national student competition!

The facing page shows the key research methods we used in this stage. They are explained in further detail throughout the chapter.

DiScOVERweeks 01 – 02

8

AdAm bURGES ISAbELLA FERnAndESObIE CAmpbELL

9

PROBLEM BASED LEARNING

DiScOVER

Our group was comprised of Adam Burges, Obie Campbell and Isabella Fernandes. We decided to operate as a team and undertake the entire project as a group. We knew this would be a challenge but felt it would further enhance the relevance of the project since most design studios operate as teams.

We felt three was a good size; we all bought different individual strengths to the group such as prototyping, documenting, copy writing and project management.

10

PROJECT TRIGGERS

DiScOVER

client:01 Non-Govenment Organisation02 Political/Elected Party03 Supermarket Chain04 Global Corporation05 cultural organisation06 Small Comapny

Message:01 Become Greener02 Help Others03 Become Healthier 04 Educate Yourself05 Be More Confident06 Appreciate culture

target Audeince:01 Inner City 15–20’s 02 Middle Class Housewives 30–40’s03 Working Class Men 30–50’s04 Style Conscious 20–30’s05 Recently Retired Professionals06 School Children 5–10’s

Formulating a brief requires three basic elements: client, message and target audience.

We were presented with a series of six choices for each and asked to roll a dice to determine which of the clients, messages and target audiences we would base our project upon.

The triggers shown right were to be the starting point for our project but the exact nature and purpose of the brief were up to us to define.

11

DiScOVER

OUR TRIGGERS

tARGEt AuDiEncE RECEnTLy RETIREd pROFESSIOnALS

MESSAGE AppRECIATE CULTURE

cLiEnt CULTURAL ORGAnISATIOn

12

RESEARCH METHODS

DiScOVER

The main goal of the stage, and the whole project, was to investigate research methods; this meant both utilising existing methods and coming up with our own.

During this stage we brainstormed all the methods we could think of; found methods in books and online; borrowed methods from our classmates and invented some of our own. We then started categorising them and assessing which ones would be most useful for each stage of the design process.

We realised that most of the methods that we knew, and had previously used, were actually ideas generation techniques. We needed to come up with new methods for learning about our client, for understanding our target audience, for gathering data and collecting primary research.

13

R

14

DISCOVERING THE CLIENT

DiScOVER

At the outset we were unsure about what a Cultural Organisation actually was. We decided to make a list of all the orgnisations that came to mind, and started researching them online.

R

15

DISCOVERING THE MESSAGE

DiScOVER

ADAM’S DEFINITIONAn orgnaisation in the cultural sector that promotes or supports a cultural activity such as: literature; visual, community, performing arts; music; crafts; design; television; video; radio; film; or movable cultural heritage.

OBIE’S DEFINITIONA cultural organisation promotes and shares the interests of a particular subject or activities. Knowledge and values are shared at a particular time or place. Interests might include dance, the arts, theater, film, drawing, opera, music, ballet, comedy, museums, galleries, world heritage, sport.

ISABELLA’S DEFINITIONAn organisation that is specific to a particular lifestyle, heritage, religion, etc that promotes awareness, ideals, values and also allows people with these similar interests to get together and publicize their interests to others.

DictiOnARy DEfinitiOn Of cuLtuRE 1. a particular society at a particular time and place2. the tastes in art and manners that are favored by a social group3. all the knowledge and values shared by a society

DictiOnARy DEfinitiOn Of An ORGAniSAtiOn

a large international organization: company, firm, corporation, institution, group, consortium, conglomerate, agency, association, society; informal outfit.

whAt iS A cuLtuRAL ORGAniSAtiOn?

R

16

DiScOVER

CREATE A BLOG

StOP PRESS! RSA STUDENT AWARDS FIT THE BILL TOO StOP PRESS! RSA STUDENT AWARDS FIT THE BILL TOO StOP PRESS! RSA STUDENT AWARDS FIT THE BILL TOO

R

www.givingandgetting.tumblr.com

17

RSA STUDENT AWARDS

DiScOVER

After checking with our tutor Darren, we decided to use the brief as an opportunity to enter a national student competition. The RSA (the Royal Society for the encouragement of Arts, Manufactures and Commerce) had a brief called Giving and Getting which had many parallels with our original brief and triggers.

The RSA Student Design Awards scheme challenges professional designers-in-training to apply their skills to difficult social issues. The briefs are well known for being research driven and encourage participants to think about the positive impacts design can have within society.

GiVinG AnD GEttinGChoose an existing charity and design a means by which it can increase its fundraising and other resources.

Make it easier for people to give, or for charities to ask - or both.

Use design to evoke need and inspire generosity.

StOP PRESS! RSA STUDENT AWARDS FIT THE BILL TOO StOP PRESS! RSA STUDENT AWARDS FIT THE BILL TOO StOP PRESS! RSA STUDENT AWARDS FIT THE BILL TOO

18

DiScOVER

ANALYSIS OF THE RSA BRIEF

R

Obie’s analysis Adam’s analysis

19

R

20

DEFINITIONS

DiScOVER

DEfinitiOn Of ASK

Inquire, make requests, demand for something or somebody, direct or put, request and expect, address a question to and expect an answer from, ask or require for as a price or condition.

R

DEfinitiOn Of GiVE

1 freely transfer the possession of (something) to (someone); hand over to• bestow (love, affection, or other emotional support) • administer (medicine) : she was given antibiotics.• hand over (an amount) in exchange or payment;• communicate or impart (a message someone) :2 cause or allow someone or something to have something, provide or supply with • allow (someone) to have (a specified amount of time) for an activity or undertaking.3 carry out or perform (a specified action) • provide 4 state or put forward (information or argument) 5 alter in shape under pressure rather than resist or break

21

PICKING A CLIENT

DiScOVER

We went back to our list of cultural organisations and researched which ones were listed as charities. The Big Give was very useful for this (www.thebiggive.org.uk). We researched several arts organisations and galleries and discovered that the Tate has a charity.

As a group we were surprised to find out that the Tate is a registered charity, and wondered how many other people were aware of this.

We also felt that the Tate could be an interesting choice because of the proposed government cuts to the arts.

the tate fund is an annual campaign which provides invaluable resources across the galleries, wherever the need is greatest.

TATE FOUndATIOnCharity number : 1085314

22

DiScOVER

VALUES OF THE TATE

bUILdInG THE COLLECTIOn

LEARnInG FOR ALL

COnSERVInG THE COLLECTIOn

23

ADAM

By choosing the RSA brief we gave ourselves quite a specific design problem. Looking back, I’m not sure that we experimented with research methods during this stage, as much as we could have done. I feel we could also have done more research into our triggers, and perhaps allowed ourselves to define the brief too early. On the plus side, it meant we had a clear focus.

I was excited about the prospect of working as a group throughout the project. I have often felt quite isolated working on my own on university projects, especially having spent the summer interning in a design studio. I knew it wouldn’t be all plain sailing, but I feel working with people is something I enjoy and am good at.

One of our most successful methods of the stage was setting up a blog to store and share information and ideas.

OBiE

The RSA brief was a great opportunity to use the research skills and processes required from the Strategies in Visual Research brief. We thought it was better to work in a team of three; whilst two people could be sharing and working upon ideas, one could be documenting the exchanges in conversations, and work produced.

We each had different skill sets too, which were great to combine. In this stage I found that my strengths were in exploring the the brief, and unpicking the keywords and thoughts, helping to set up and keep the Giving and Getting blog updated and to document every activity.

It felt strange to break the stages down over a variety of weeks, but that enabled us to explore the discover stage slowly but intensely.

Working in a group felt like an appropriate task for the design challenge ahead of us. We were able to use secondary resources to conduct literature reviews, define terminologies, and plan the our next stages of research methods.

cOncLuSiOndISCOVER STAGE

24

SIX THInkInG mEn

RESEARCH THE SECTOR

EXpERIEnCE TATE

ObSERVE TATE

mEET TATE

VISIT & AnALySE COmpETITIOn

VISUAL AUdITS

nEwSpApER CLIppInGS

DELVE


COnSIdER ALL FACTORS

25

DELVEweeks 03 – 04

Focus on research methods to delve deeper into design problems, unearth possible routes and paths to follow

While the discover stage required us to undertake broad and wide-ranging research; the delve stage required us to narrow that research and focus on the most interesting areas. For us this meant becoming experts on galleries, fundraising, donating and our client. Research methods used in this section included gallery visits, primary data collection, visual audits and interviewing the client.

The facing page shows the key research methods we used in this stage. They are explained in further detail throughout the chapter.

26

DELVE

WHO, WHAT, WHY, WHEN, WHERE, HOW?

R

27

DELVE

SIX THINKING MEN

R

28

DELVE

VISUAL AUDIT: WAYS OF DONATING

R

29

DELVE

CONSIDER ALL FACTORS:WAYS OF DONATING

R

30

DELVE

SAVE THE ARTS

We found several campaigns devoted to funding and saving the arts. We researched into how they raised money and awareness. We particularly liked the short animation that David Shrigley had made for Save The Arts.

31

DELVE

CUTS IN THE PRESS

We built up a collection of clippings of articles in the press reporting and commenting on the cuts to the arts. This was useful because it enabled us to gain lots of facts and information that might otherwise have been very hard to track down, and also gauge other people’s views on the subject.

R

32

DELVE

EXPERIENCE TATE

R

33

DELVE

VISUAL AUDIT: VISITOR TOUCH POINTS

Shop Coat donation Coat donation Send a video message

Draw Leave an opinion Games for all ages Interactive zone

Explore Tate Views of London Eat in the cafes Visit exhibitions

R

To make sure we had a proper understanding of the visitor experience, we made several visits to both Tate Modern and Tate Britain.

We tried to engage with everything Tate has to offer. We documented our experiences and produced visual audits to help us analyse them.

34

DELVE

VISUAL AUDIT: DONATION MESSAGES

DELVE R

35

DELVE

MAPPING DONATION POINTS AND MESSAGES

Shop

Shop

Cafe

Bar

Bar

Members

2

Main

Entrance

Exhibition Displays

Exhibition Displays

Exhibition Displays

3

4

5

6

7

Tickets

ToiletsLift EntranceTate MessagesTate Donation Boxes

R

36

DELVE

MEET TATE

What are the differences between Tate, Tate Fund and the Tate Foundation?

What are Tate’s thoughts on Brian Sewell’s idea to instal turnstiles and charge £1 entry to all visitors?

How do Tate feel about being classified as a charity?

Tate is the name of the charity, Tate Foundation is the Tate’s charitable wing and the Tate Fund is the name for the annual collection.

Tate is committed to free entry, so this is a no-go idea!

We try to be quite reserved not make a big deal about it. We feel we can exist alongside more traditional charities as people don’t tend to view giving to the arts as giving to charity.

Adam arranged an interview with Kathrin Ostermann, Head of Individual Giving at Tate. It was an opportunity to find out more about Tate’s current strategies for fundraising and

see how our project could be most beneficial to them. We also wanted to see if we could define a target audience.

37

What techniques and methods do Tate currently use to fundraise?

• We use direct mail and email campaigns when seeking to aquire a new work, donation boxes are sometimes placed next to the artwork aswell

• Example of asking directly for donations was the Rubens campaign to aquire a Rubens

• We tend to use direct mail when targeting visitors of Tate Britain and email for Tate Modern visitors

• We are looking to use Facebook and Twitter much more in the future

R

How can our project be most useful to Tate? In which areas does that Tate need to increase its fundraising?

We’d love to find ways to increase the number of people donating on the day of their visit. W’d be extremely interested in any research and solutions you can develop in this area.

38

DELVE

GALLERY VISITS

V &AHayward

Imperial War MuseumBarbican

R

39

DELVE

SCIENCE MUSEUM DONATION DRIVE

The Science Museum had a team of people asking visitors to donate, giving information about funding and offering stickers to donaters.

R

40

DELVE

VISUAL AUDIT: DONATION BOXES

R

We decided to visit as many galleries and museums as we could between the three of us. We wanted to experience the ‘competition’, and see how they ask visitors for money. We tried to document all the various donation boxes we came across and produced this visual audit to help us analyse them.

41

ADAM

This stage was all about primary information gathering. We spent a lot of time visiting the galleries and museums of London - observing and experiencing. We were surprised to see The Science Museum undertaking a drive to increase donations (p.39), which although appeared to be successful, actually seemed to be making visitors feel pressured and uncomfortable.

Meeting and interviewing someone from the The Tate was a really key part of the stage for us, and an essential research method. Kathrin Ostermann (Head of Individual Giving) was extremely helpful and very interested in the project. We knew that she would be an excellent contact as the project progressed.

OBiE

It was important to discover the terms used and what the meanings meant to be able to understand what the RSA and University required of us. We also had to keep in mind that this was a creative research project and not to get confused with market research! We started to identify the problems with giving/donating and how it can be improved using a variety of methods including literature reviews, audience observation, photo-observation etc..

The Tate did seam like an obvious choice at first, but our immediate thoughts were, “We didn’t know that the Tate was a registered charity!”. The following weeks were a great challenge to change people’s perceptions and attitudes towards giving and getting using design-led thinking.

cOncLuSiOndELVE STAGE

42

AnALySE THE bRIEF

LIST pOTEnTIAL RESEARCH mETHOdS

SELECT pOSSIbLE CLIEnTS

dEFInE kEy wORdS FROm bRIEF

RESEARCH CLIEnT OnLInE

ESTAbLISH An ACTIOn pLAn

dEFInE THE TRIGGERS

DEfinE


43

DEfinEweeks 05 – 06

Look at methods and processes that help define ideas and thinking regarding design problems.

This was a particularly productive stage for us, we identified key research questions and devised several methods that allowed us to gather primary information.

44

DEfinE

RECAP OF THE BRIEF

“Choose an exisiting charity and design a means by which it can increase its fundraising and other resources. make it easier for people to give, or make it easier to ask - or both.”

RSA Student Design Awards brief

45

DEfinE

DEFINING THE TARGET AUDIENCE

Our research has confirmed that Tate Modern and Tate Britain attract a completely diverse range of people. Tate want us to target all of their visitors and alienate none of them. We have to keep our target audience broad. This is the challenge!

Adam, Obie, isabella

46

DEfinE

CLIENT/MESSAGE/TARGET AUDEINCE

TARGET AUdIEnCE PEOPLE whO DO nOt DOnAtE

wE cAME uP with SOME KEy RESEARch quEStiOnS tO hELP uS DEVELOP A SOLutiOn …

mESSAGE incREASE DOnAtiOnS On thE DAy Of ViSit

CLIEnT tAtE

47

DEfinE

GALLERY/MUSEUM PRINTED MATERIAL AUDIT

48

DEfinE

RESEARCH QUESTION

whAt wAyS wiLL PEOPLE hAPPiLy DOnAtE?

whAt PutS PEOPLE Off DOnAtinG?

ARE yOu AwARE Of thE GOV cutS tO thE ARtS?

yESnO

49

DEfinE

RESEARCH METHOD

R

hOw DiD wE finD thiS Out? We asked 24 family & friends the same three questions and collated our answers.

50

DEfinE

RESEARCH QUESTION

whAt ARE thE MAin BARRiERS tO DOnAtinG?

whAt ARE thE MAin DRiVERS fOR DOnAtinG?

wanted to support the gallery

no spare change today

wanted to get rid of some spare change

enjoyed my visit and wanted to show my appreciation

already paid today

already a member

didn’t even think about it

51

DEfinE

RESEARCH METHOD

BARRIERS

DRIVERS

R

hOw DiD wE finD thiS Out? We made a barriers/drivers donation box and asked Tate visitors to ‘donate’ their answers.

52

DEfinE

RESEARCH QUESTION


FINDINGS

PERCENTAGE OF VISITORS DONATING ATLONDON GALLERIES AND MUSUEMS

Tate Modern

Tate Britain Natural HistoryMuseum

Imperial WarMuseum

V&A Science Museum* distorted due to the fact a team of fundraisers were on hand.

5.6%

2.3% 1.2% 0%

1% 36%

whAt % Of ViSitORS ARE DOnAtinG At LOnDOn GALLERiES AnD MuSEuMS?

53

DEfinE

RESEARCH METHOD

R

hOw DiD wE finD thiS Out? We visited each gallery, observed the number of people leaving and counted how many were donating. We did this for 20 minute spells and worked out the percentages.

54

DEfinE

RESEARCH QUESTION & METHOD

whAt ARE thE MOSt cOMMOn MEthODS Of tRAnSActiOn?

OYSTER CARDDEBIT CARDCOINSNOTESONLINEPAYMENT

VOUCHER

MOST POPULAR METHOD OF TRANSACTION TO THE LEAST

R

hOw DiD wE finD thiS Out? We made ‘transaction cards’ and asked friends to keep a note of their transactions over a week

55

DEfinE

RESEARCH QUESTION & METHOD

whAt DO PEOPLE ActuALLy cARRy in thEiR wALLEtS?

R

hOw DiD wE finD thiS Out? We asked friends and family to completely empty the contents of their wallets and took a photograph of the contents.

56

DEfinE

RESEARCH QUESTION

whAt DO PEOPLE thinK thEy ShOuLD DOnAtE?

£6hOw Much DO PEOPLE thinK A ViSit tO tAtE iS wORth?

£4.50

£3 whAt wOuLD PEOPLE ActuALLy DOnAtE?

57

DEfinE

RESEARCH METHOD

hOw DiD wE finD thiS Out? We created a ‘Tate Value Questionnaire’ and asked gallery visitors outside Tate Modern for their thoughts.

R

58

DEfinE

RESEARCH QUESTION

LiKED AnD DiSLiKED wORDS whEn ASKinG fOR DOnAtiOnS

LiKE

DiSLiKE

59

DEfinE

RESEARCH METHOD

hOw DiD wE finD thiS Out? Peer-to-peer research. We presented classmates with a list of words and asked them which 3 they thought were most and least effective.

R

60

DEfinE

RESEARCH QUESTION AND METHOD

whAt PERcEntAGE Of funDinG iS fROM thE PuBLic?

R

hOw DiD wE finD thiS Out? The ’Tate messages’ around Tate Modern contain snippets of information, facts and figures.

61

DEfinE

RESEARCH QUESTION AND METHOD

DOnAtiOn BOx EffEctiVEnESS

R

hOw DiD wE finD thiS Out? We analysed the shape and colour of all of the donation boxes from our visual audit in the define stage.

62

DEfinE

SUMMARY

PEOPLE DiSLiKE• being asked directly• not knowing where the money goes• being made to feel guilty• certain words used

people are prepared to donate £3

people want to support the gallery

many visitors think they have no spare change but infact most people do have some small change or coppers on them

many visitors don’t even

think about donating

SuMMARy Of KEy finDinGS

63

ADAM

This was a really productive and enjoyable stage for us. The official goal of the stage was to define a design problem, but our brief had been pretty well defined by the RSA! We used it to gather specific research about donating and the Tate. We set about this by working out what we needed to know and creating a series of research questions. This approach allowed us to ‘invent’ a lot of research methods specific to our project.

We gathered lots of primary information, and tried to do this in ways that were fun and engaging for the participants, such as the barrier/driver donation box (p.51)

OBiE

We had the opportunity of a brief already created for us, we knew that our mission was make it easier for charities to give or ask - or both and our client has been picked in the Delve stage, but we were unsure about who our target audience was. When visiting the Tate it seemed that there was a variety of visitors from different ages, cultures and social backgrounds.

The talk with Catherine helped us to focus on an individual audience target but instead all the people who do not donate on the day. This changed our direction, and we started to think about what motivates people to donate and why.

Designing the PDF’s each week with Adam helped us to clarify our aims and objectives. In this stage I enjoyed observing, looking at the language used and recording conversations to help us think of clearly about the triggers and what creative methods we could use.

cOncLuSiOndEFInE STAGE

64

CREATE LIST OF mAIn GOALS

SUmmARISE mAIn RESEARCH FIndInGS

USE dESIGn wITH InTEnT CARdS

SIX THInkInG mEn

COnCEpT CHALLEnGE

VISUALISE IdEAS OnTO SEpARATE CARdS

USE CARdS TO GUAGE RESpSOnSE TO IdEAS

dEVELOp IdEAS bASEd On FEEdbACk

dEVISE SOLUTIOnS TO THE bARRIERS

DEVELOP


65

DEVELOPweeks 07 – 08

Look at ways designers develop ideas into prototypes and proposals to answer design problems.

This stage was primarily about ideas generation, prototyping and testing. We came up with several concepts and developed methods to help us gain feedback. We used this feedback to evolve and develop our ideas then re-tested them.

DEVELOP

66

SUMMARY OF KEY FINDINGS

DEVELOP

67

SUMMARY OF MAIN FINDINGS

DRiVERS• I wanted to get rid of some spare change• Enjoyed my visit and wanted to show my appreciation• I wanted to support the gallery

VALuE• Visit to the Tate worth £6• Ideally would donate £4.50• Prepared to donate £3

BARRiERS• I have no money or spare change today• I didn’t even think about it• I’m already a member / I have already paid today

R

DEVELOP

68

IDEAS GENERATION TECHNIQIUES

COnCEpT CHALLEnGE SIX THInkInG mEn SOLUTIOnS FOR bARRIERS dESIGn wITH InTEnT CARdS

DEVELOP

69

IDEAS GENERATION TECHNIQUES

COnCEpT CHALLEnGE SIX THInkInG mEn SOLUTIOnS FOR bARRIERS dESIGn wITH InTEnT CARdS

R

DEVELOP

70

FUN THEORY

Joanna suggested that we look at the fun theory and the chlamydia campaign as good examples of behaviour change projects.

The best fun theory example we find was the Bottle Bank Arcade which made use of a game to encourage positive action.

The chlamydia campaign was interesting because it had a strong message - test yourself for chlamydia - but also made action easier by offering testing kits to people outside toilets. Joanna suggested we didn’t just need to persuade people to donate, we needed to find a way to make it easier for them to doante too.

DEVELOP

71

SKETCH IDEAS

R

Adam sketched up our favourite ideas. We felt it was important to have something visual to show when explaining our concepts to others.

DEVELOP

72

IDEA CARDS

IDEA #1WHAT IS IT?Choice Map

HOW DOES IT WORK?Choice Map attempts to persuade vistors to even make a donation of 3p. If you do donate, putting money in the machine enables access to the Tate’s Limited Edition App and Online Access. This is communicated through a ticket system

FEEDBACK COMMENTS

Tate is free! Will you make a

donation?

Our average visitor donation is 3 pence.

Thankyou!You have access to our

limited edition app! How about a tip?

Not got much change?

Coppers would be great!

YES!

NO!

• The copy needs to be witty• It’s good for children• I wouldn’t look down on the floor• I would feel guilty walking down the

‘no’ path• It could be seen as offensive• Like the idea of being lead • It’s time consuming

R

DEVELOP

73

IDEA CARDS

IDEA #2WHAT IS IT?Petition Wall

HOW DOES IT WORK?To raise awareness of the cuts to the arts and to start a fun conversation piece within the gallery. For a fee of their choice, people will be able to record their message to the Tate about the cuts and also listen to what others have to say. When they take part they will receive information about the new mobile app and a personalised loyalty card to use in the Tate coffee shop. This card will have a picture of them taken from their video on the back.

FEEDBACK COMMENTS• A private booth is needed• Could this be more of a discussion -

Chinese Whispers?• What about shy people?• I want to put my money somewhere

quickly• Online streaming?• Loyalty card?

DEVELOP

74

IDEA CARDS

IDEA #3WHAT IS IT?Mobile App

HOW DOES IT WORK?Contains news about the Tate, access to monthly, limited edition prints from artists that you can download for a fee of your choice, and feedback on how the Tate is using the money they raise from you for the better.

FEEDBACK COMMENTS

• Will the artists be paid for this?• What stops people from sharing?• Not available to wide audience• Good for people passionate about art

DEVELOP

75

IDEA CARDS

IDEA #6WHAT IS IT?Tate Tree

HOW DOES IT WORK?The Tate tree is a metaphor for how money can have an immediate impact. Tate donators will be able to see how their helps to look after Tate’s collection and resources. This is a metaphor for showing people how acontribution can make a place grow.• The tree starts of as nothing.• As people add money it gradually starts togrow by parts of it illuminating using light.

FEEDBACK COMMENTSGrow Tate

• You can physically see your donation helping

• Tree is obvious - something more related to art?

• Value indicator?• What happens when the tree has

finished growing?• Could it be more personal?

DEVELOP

76

IDEA CARDS

IDEA #5WHAT IS IT?3 Pence campaign

HOW DOES IT WORK?

FEEDBACK COMMENTS

?HOW MUCH DO YOU THINK WE’RE WORTH?

3 P

OUR AVERAGEVISITOR

help us increase that amount

• The campaign can’t stand alone• Can you do something with 3p?• Needs to be interactive

DEVELOP

77

IDEA CARDS

IDEA #6WHAT IS IT?MULTIPLE DONATION BOXES

HOW DOES IT WORK?Multiple donation boxes either dotted around the gallery or grouped together. They would have different feedback mechanisms hooked up to a live donation feedback counter.

ANY FEEDBACK PLEASE?

£105432.17

thanks!

thanks!

trapdoorcamerasoundlight

DEVELOP

78

USING SOCIAL NETWORKS FOR FEEDBACK

R

DEVELOP

79

GRADING IDEAS

R

DEVELOP

80

DEVELOP IDEA BASED ON FEEDBACK

R

81

ADAM

This was probably our most challenging stage - we started to realise what a tough task we had set ourselves - getting people to give money away for nothing is extremely hard!

I found being part of a team, rather than working alone, very beneficial in the ideas generation process. Opening up and discussing ideas allowed us to get instant feedback and different perspectives. Hopefully it meant our ideas were considered and relevant.

There were a couple of very successful research methods to take away from the stage. Art-working our best ideas on to individual cards helped us to explain concepts to people quickly and using social networks proved very beneficial for getting large amounts of feedback in a short time.

OBiE

Quickly prototyping the ideas, was a great skill to learn, it also gave me the confidence to share the ideas with other people, and explain the the ideas, clearly and precisely. Allowing our peers to vote on the best ones, gave us an over view of what ideas we could work and develop on.

I had to keep in mind not loose sight that we are designers, and perhaps we might find it hard to create a whole new experience without considering professional advice from others about the logistics.

cOncLuSiOndEVELOp STAGE

82


DELiVER

CREATE A pITCH

pRESEnT TO CLIEnT

USE CLIEnT FEEdbACk TO dEVELOp FInAL OUTCOmE

CREATE pROTOTypES & SAmpLE ARTwORk

TEST THE COnCEpT

AnALySE pOSITVES FROm pREVIOUS IdEAS

SUmmARISE THE COnCEpT

USE FEEdbACk TO dEVELOp IdEA

83

DELiVERweeks 09 – 10

Look at ways you can deliver ideas and proposals to stakeholders in more creative and successful ways.

After much contrasting feedback from peers and tutors we decided to present our concepts to Kathrin Ostermann. Her feedback allowed us to develop the most viable idea and make an animation of the concept.

84

DELiVER

MAPPING THE IDEA

85

DELiVER

TATE DONATE


OUR PROPOSAL

THE INSTALLATION SERIESArtists and designers are invited

which encourages interaction and donation. Each installation will be created to raise funds for a specific target, such as a new roof, and will exist until the target is reached

We will write the brief and send it to studios/artists/designers

We have initially contacted Hellicar and Lewis

The series would be piloted at Tate Modern with a view to rotating it between the four Tate galleries

We will try to develop a prototype installation to demonstrate the idea

A festival will coincide with the launch of the first installation. It will celebrate all things Tate but its focus will be on raising interest in donating. It will also aim to encourage greater engagement

greater unity between the four galleries

THE TATE FESTIVAL

We will design an identity for the festival and suggest content

We will suggest the logisitcs of the festival: site, time of year, number of days, etc


what is

Tate Donate is a new subsidary of Tate brand that focuses on increasing visitor donations

86

DELiVER

PRESENTING TO TATE

R


TATE PRESENTATION17 / 12 / 2010


BASED ON OUR INITIAL IDEAS AND FEEDBACK WE DEVELOPED

AN EQUATION . . .


INITIAL IDEAS


WE PROPOSE EXTENDING THIS TO A FRAMEWORK THAT WOULD INCLUDE:

87

DELiVER

TATE FEEDBACK

i really like the idea of starting a conversation, and capturing the voices of tate visitors

tate Donators wall could be a great viral experience.

tate Donators wall could speak for tate. it could say “thank-you, your money is going towards…”

tate festival is a great idea, but unfortunately its unrealistic

we wouldn’t be able to use the name tate Donate

88

DELiVER

MAKING A PROTOTYPE

We decided the best way to ‘deliver’ our idea was to create a prototype These images document the making of our interactive donation box, it was fairly crude but it provided us with something tangible to demonstrate people interacting with it.

89

DELiVER

MAKING A PROTOTYPE

R

90

DELiVER

ANIMATION OF CONCEPT

91

DELiVER

ANIMATION OF CONCEPT

R

92

DELiVER

FINAL CONCEPT

93

ADAM

The final stage was a big challenge. We had received such mixed feedback from tutors and peers that we were unsure which solution to develop into a final outcome. I decided to arrange a meeting with Kathrin Ostermann (our contact at Tate) and get the client’s feedback.

I put together a presentation, summarising our ideas and research. Kathrin was impressed with the ideas and her feedback allowed us to tailor a solution to something that would be viable and realsitic for the client to implement.

We decided a creative and visual way to deliver our outcome would be a video. We made a prototype and I put together an animation showing how our concept might be implemented.

OBiE

After talking to Katherin we decided to follow through with our original idea, the Tate Donators. This is because we thought it would be a great way to start a conversation and sense of fun.

Prototyping the idea enabled us to experience the idea first-hand it was great to see the idea come to life. Adam used his skills editing and cutting the final film whilst Fernandes and mocked up the prototype.

cOncLuSiOndElLIVER STAGE

94

DEVELOP

CONCEPT CHALLENGE

95

ADAM

The Problem-Based Learning/Strategies for Visual Research project required us to work in a an unfamiliar way, but it’s been very worthwhile. At times it was frustratingly slow, but looking back, the pace afforded us time to become much better informed before attempting to tackle the problem. It’s given me confidence that I have tools to solve design problems in a rational and structured way if needed.

Undertaking the project as a group has presented many challenges, but overall I feel its been a positive experience. I hope it has taught me to be less protective about ideas, and use my peers as a resource. I think our group worked well because we each took on different responsibilities. I seemed to assume the role of project manager and there were times when it didn’t feel like the workload was equally shared, but I guess it taught me tolerance and diplomacy!

I am very happy with our outcome and look forward to presenting it to Tate.

cOncLuSiOnSTRATEGIES FOR VISUAL RESEARCH

OBiE

It was exciting to use this project to help support my Industrial Contextual Theory Report about the co-design approach, and do be able to distill the research methods we had used within this stage in a clear precise way in our two week presentations. By producing this book we were able to see what methods worked and why. I enjoyed prototyping the idea’s and bringing them to life, and also documenting each stage of the project was important to me. It enable us to reflect over what we had done / learnt plus visually show how we make a research method creative.

Reading books such as the Design Thinking, Back to Basics series helped me to draw inspiration for the project but also understand why we are doing a method. This project was extremely reflective and I feel confident that I can now support my design choices, prototype and test my ideas quickly. The project has also helped me to explore how to work collaboratively and to adapt my skills to the people around me. We also had to think about time management, and making sure we all had clear communications within the group.

Documents

Strategies for Visual Research