This presentation was given at the annual Boston UPA conference on May 7th, 2012. It describes one of the activities we use at Mad*Pow to generate lots of ideas for design projects while building a sense of collaboration and consensus across a multi-disciplinary project team.
7. Idea Idea
Idea Idea
Idea
Idea
Idea
Idea
Idea Idea
Idea Idea
Idea Idea
Idea
Idea Idea Idea
Solution
ADAM CONNOR @ADAMCONNOR
8. Inevitably, we run into challenges.
Which option should we
choose?
We need to put all of these
ideas in front of users and
let them tell us.
I just remembered... it also needs
to do these 16 other things.
ADAM CONNOR EXPERIENCE DESIGN DIRECTOR @ADAMCONNOR
12. Yes, there is an “i” in “design,” but
it falls in-between a whole bunch
of other stuff.
ADAM CONNOR @ADAMCONNOR
13. How can we engage team
members, including
stakeholders, so that we…
ADAM CONNOR
Generate lots of ideas?
@ADAMCONNOR
14. How can we engage team
members, including
stakeholders, so that we…
ADAM CONNOR
Generate lots of ideas?
Give team members a chance to
share ideas early in the project.
@ADAMCONNOR
15. How can we engage team
members, including
stakeholders, so that we…
ADAM CONNOR
Generate lots of ideas?
Give team members a chance to
share ideas early in the project.
Learn about the perspectives each
area of expertise involved has.
@ADAMCONNOR
16. How can we engage team
members, including
stakeholders, so that we…
ADAM CONNOR
Generate lots of ideas?
Give team members a chance to
share ideas early in the project.
Learn about the perspectives each
area of expertise involved has.
Choose ideas based on consensus
and their effectiveness for our
objectives.
@ADAMCONNOR
17. How can we engage team
members, including
stakeholders, so that we…
ADAM CONNOR
Generate lots of ideas?
Give team members a chance to
share ideas early in the project.
Learn about the perspectives each
area of expertise involved has.
Choose ideas based on consensus
and their effectiveness for our
objectives.
Establish a shared sense of
ownership in the solution?
@ADAMCONNOR
18. Idea Idea
Idea
Idea Idea
Idea
Idea Idea
Idea
Idea
Idea
Idea
Idea
Idea
Idea
Idea Idea Idea
Solution
Synthesize
Observations
Create or
Refine
Observe &
Evaluate
ADAM CONNOR @ADAMCONNOR
32. Framing the Problem
Personas
Goals
Principles
Scenarios
ADAM CONNOR @ADAMCONNOR
33. Framing the Problem
Personas
Goals
Principles
Scenarios
Tip: Make sure this isn’t the first time
people see these.
ADAM CONNOR @ADAMCONNOR
34. Framing the Problem
Personas
Goals
Scenarios
Tip: Make sure this isn’t the first time
people see these.
You’ll also need…
A Timer
Paper
Black, Red and Green Markers
Tape
Butcher Paper (optional)
Principles
ADAM CONNOR @ADAMCONNOR
35. Choose the best scenarios
for your studio by…
Looking for scenarios that make up
the “core” of the product (most
encountered, largest audience,
most sensitive)
ADAM CONNOR @ADAMCONNOR
36. Choose the best scenarios
for your studio by…
Looking for scenarios that make up
the “core” of the product (most
encountered, largest audience,
most sensitive)
Looking for scenarios that feature
functions or challenges that there is
significant discussion around.
ADAM CONNOR @ADAMCONNOR
37. Choose the best scenarios
for your studio by…
Looking for scenarios that make up
the “core” of the product (most
encountered, largest audience,
most sensitive)
Looking for scenarios that feature
functions or challenges that there is
significant discussion around.
Breaking down long scenarios into
smaller sub-scenarios.
ADAM CONNOR @ADAMCONNOR
38. Choose the best scenarios
for your studio by…
Looking for scenarios that make up
the “core” of the product (most
encountered, largest audience,
most sensitive)
Looking for scenarios that feature
functions or challenges that there is
significant discussion around.
Breaking down long scenarios into
smaller sub-scenarios.
Getting agreement from the team
on the chosen scenarios.
ADAM CONNOR @ADAMCONNOR
39. Who gets an invitation?
ADAM CONNOR @ADAMCONNOR
40. Who gets an invitation?
Cross-functional
ADAM CONNOR @ADAMCONNOR
41. Who gets an invitation?
Cross-functional
Key stakeholders
ADAM CONNOR @ADAMCONNOR
42. Who gets an invitation?
Cross-functional
Key stakeholders
Up to 20 people (ideally more like 12-16)
ADAM CONNOR @ADAMCONNOR
43. Who gets an invitation?
Cross-functional
Key stakeholders
Up to 20 people (ideally more like 12-16)
Balanced teams of 3-6 people
ADAM CONNOR @ADAMCONNOR
44. Who gets an invitation?
Cross-functional
Key stakeholders
Up to 20 people (ideally more like 12-16)
Balanced teams of 3-6 people
Tip: Create teams ahead of time and consider people’s
personalities and attitudes. Make sure you have one
person on each team who can act as the facilitator.
ADAM CONNOR @ADAMCONNOR
59. The design process is one of evolution,
not production.
Sketching facilitates faster exploration
and refinement of ideas through
iteration.
ADAM CONNOR @ADAMCONNOR
60. WHAT HAPPENS
Individuals sketch as
many ideas as they can
come up with in 5-8
minutes.
1
WHY
Generate as many ideas
as possible without time
for over-analyzing.
ADAM CONNOR @ADAMCONNOR
61. WHAT HAPPENS
Individuals sketch as
many ideas as they can
come up with in 5-8
minutes.
WHAT HAPPENS
Individuals sketch 1 idea
in 5-8 minutes based on
ideas & critique shared in
the previous charrette.
1 2
WHY
Generate as many ideas
as possible without time
for over-analyzing.
WHY
Allow individuals to form
their own conclusions on
the strongest ideas.
ADAM CONNOR @ADAMCONNOR
62. WHAT HAPPENS
Collaboratively, members
of a team sketch 1 idea in
20-25 minutes based on
their earlier charrettes.
3
WHY
Understand how groups
compromise & where
consensus has surfaced.
!
WHAT HAPPENS
Individuals sketch as
many ideas as they can
come up with in 5-8
minutes.
WHAT HAPPENS
Individuals sketch 1 idea
in 5-8 minutes based on
ideas & critique shared in
the previous charrette.
1 2
WHY
Generate as many ideas
as possible without time
for over-analyzing.
WHY
Allow individuals to form
their own conclusions on
the strongest ideas.
ADAM CONNOR @ADAMCONNOR
63. What about group think and design-by-committee?
ADAM CONNOR @ADAMCONNOR
64. Critique is critical to the
success of collaborative
activities like studio because
it allows participants to…
Actively avoid personal preference
and analyze ideas against the
personas, scenarios, goals and
principles that frame the project.
ADAM CONNOR @ADAMCONNOR
65. Critique is critical to the
success of collaborative
activities like studio because
it allows participants to…
Actively avoid personal preference
and analyze ideas against the
personas, scenarios, goals and
principles that frame the project.
Collectively identify which ideas are
most important in creating an
effective design.
ADAM CONNOR @ADAMCONNOR
66. Critique is critical to the
success of collaborative
activities like studio because
it allows participants to…
Actively avoid personal preference
and analyze ideas against the
personas, scenarios, goals and
principles that frame the project.
Collectively identify which ideas are
most important in creating an
effective design.
Avoid group-think, design-by-committee
and preferential based
decision making.
ADAM CONNOR @ADAMCONNOR
68. Rules & Guidelines for Critique
Present quickly.
ADAM CONNOR @ADAMCONNOR
69. Rules & Guidelines for Critique
Present quickly.
Everyone is equal and a critic.
ADAM CONNOR @ADAMCONNOR
70. Rules & Guidelines for Critique
Present quickly.
Everyone is equal and a critic.
Avoid getting sidetracked by
problem solving.
ADAM CONNOR @ADAMCONNOR
71. Rules & Guidelines for Critique
Present quickly.
Everyone is equal and a critic.
Avoid getting sidetracked by
problem solving.
Ask questions as necessary.
ADAM CONNOR @ADAMCONNOR
72. Rules & Guidelines for Critique
Present quickly.
Everyone is equal and a critic.
Avoid getting sidetracked by
problem solving.
Ask questions as necessary.
Use principles, personas, scenarios
and goals to focus discussion.
ADAM CONNOR @ADAMCONNOR
74. How long is long enough?
ADAM CONNOR @ADAMCONNOR
75. How long is long enough?
Sample Setup: 3 teams of 4 people working on 1 persona/scenario
ADAM CONNOR @ADAMCONNOR
76. How long is long enough?
Sample Setup: 3 teams of 4 people working on 1 persona/scenario
Opening 15 minutes
ADAM CONNOR @ADAMCONNOR
77. How long is long enough?
Sample Setup: 3 teams of 4 people working on 1 persona/scenario
Opening 15 minutes
Scenario Review 5 minutes
ADAM CONNOR @ADAMCONNOR
78. How long is long enough?
Sample Setup: 3 teams of 4 people working on 1 persona/scenario
Opening 15 minutes
Scenario Review 5 minutes
Charrette 1
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
ADAM CONNOR @ADAMCONNOR
79. How long is long enough?
Sample Setup: 3 teams of 4 people working on 1 persona/scenario
Opening 15 minutes
Scenario Review 5 minutes
Charrette 1
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
Charrette 2
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
ADAM CONNOR @ADAMCONNOR
80. How long is long enough?
Sample Setup: 3 teams of 4 people working on 1 persona/scenario
Opening 15 minutes
Scenario Review 5 minutes
Charrette 1
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
Charrette 2
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
Charrette 3
Sketching 15 minutes
Present & Critique 30 minutes 10 min/group (present: 3 min, critique 7 min)
ADAM CONNOR @ADAMCONNOR
81. How long is long enough?
Sample Setup: 3 teams of 4 people working on 1 persona/scenario
Opening 15 minutes
Scenario Review 5 minutes
Charrette 1
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
Charrette 2
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
Charrette 3
Sketching 15 minutes
Present & Critique 30 minutes 10 min/group (present: 3 min, critique 7 min)
Closing 30 minutes
ADAM CONNOR @ADAMCONNOR
82. How long is long enough?
Sample Setup: 3 teams of 4 people working on 1 persona/scenario
Opening 15 minutes
Scenario Review 5 minutes
Charrette 1
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
Charrette 2
Sketching 5 minutes
Present & Critique 28 minutes 7 min/individual (present: 3 min, critique 4 min)
Charrette 3
Sketching 15 minutes
Present & Critique 30 minutes 10 min/group (present: 3 min, critique 7 min)
Closing 30 minutes
Total ~2 hours 45 minutes
ADAM CONNOR @ADAMCONNOR
83. How do I get people to come up
with new ideas?
ADAM CONNOR @ADAMCONNOR
85. You might not be ready to
run a design studio for your
project if…
ADAM CONNOR
You haven’t adequately framed and
broken down the problem.
@ADAMCONNOR
86. You might not be ready to
run a design studio for your
project if…
ADAM CONNOR
You haven’t adequately framed and
broken down the problem.
You don’t have enough agreement
on how you’ve framed the problem
and broken it down.
@ADAMCONNOR
87. You might not be ready to
run a design studio for your
project if…
ADAM CONNOR
You haven’t adequately framed and
broken down the problem.
You don’t have enough agreement
on how you’ve framed the problem
and broken it down.
A concept already exists that the
team can’t or won’t stray from.
@ADAMCONNOR
88. You might not be ready to
run a design studio for your
project if…
ADAM CONNOR
You haven’t adequately framed and
broken down the problem.
You don’t have enough agreement
on how you’ve framed the problem
and broken it down.
A concept already exists that the
team can’t or won’t stray from.
Some team member attitudes
aren’t open to it.
@ADAMCONNOR
89. You might not be ready to
run a design studio for your
project if…
ADAM CONNOR
You haven’t adequately framed and
broken down the problem.
You don’t have enough agreement
on how you’ve framed the problem
and broken it down.
A concept already exists that the
team can’t or won’t stray from.
Some team member attitudes
aren’t open to it.
Some remote situations.
@ADAMCONNOR
91. Design Studio allows us to…
Expand our ability to collect good ideas.
ADAM CONNOR
@ADAMCONNOR
92. Design Studio allows us to…
Expand our ability to collect good ideas.
Build consensus and a shared sense of ownership and
collaboration in the creation of the solution.
ADAM CONNOR
@ADAMCONNOR
93. Design Studio allows us to…
Expand our ability to collect good ideas.
Build consensus and a shared sense of ownership and
collaboration in the creation of the solution.
Build a shared understanding of the problem space and the
perspectives of individual team members have.
ADAM CONNOR
@ADAMCONNOR
94. Design Studio allows us to…
Expand our ability to collect good ideas.
Build consensus and a shared sense of ownership and
collaboration in the creation of the solution.
Build a shared understanding of the problem space and the
perspectives of individual team members have.
Speed up the design timeline in a project.
ADAM CONNOR
@ADAMCONNOR
95. Design Studio allows us to…
Expand our ability to collect good ideas.
Build consensus and a shared sense of ownership and
collaboration in the creation of the solution.
Build a shared understanding of the problem space and the
perspectives of individual team members have.
Speed up the design timeline in a project.
Give team members an opportunity to understand the impacts that
decisions have on the overall design and other considerations.
ADAM CONNOR
@ADAMCONNOR
96. It’s more than a workshop activity.
ADAM CONNOR @ADAMCONNOR
97. THANK
YOU!
Adam Connor
Experience Design Director
!
!
@adamconnor
adam@adamconnor.com
For more thoughts on critique, communication, and collaboration,
check out discussingdesign.com.
!
And look for Discussing Design from O’Reilly Media in 2015!
Hinweis der Redaktion
What I love most in a project is that moment when, in talking to your project team, the reactions you get are like:\nDude! That’s it! Rock! From Subject matter experts\nand Hell yeah! I want to build that! from your developers\n\nUnfortunately, that doesn’t happen for everyone. Or, if it does, it takes a lot of struggle and sacrifice to get there.\n\nHi everyone!\n\nAt mad*pow we all love that moment, and we do our damndest to make sure it happens. And today, i’d like to share one of the tools we use to stack the deck so that it does. And that tool is... DESIGN STUDIO\n
First, let me share a little bit about our process. This will probably feel pretty familiar to some of you.\n
We start with research. Knowing who we’re designing for is critical, right. So here we’re focusing on who these people are, not so much in terms of demographics (though in some projects that can be very important) but mostly focusing on behavior and attitudes and emotions.\n
Then we work to define the experience we’d like people to have with the product or service we’re designing. It’s not about UIs here, it’s about story and dialog. What’s the conversation someone has with the product over time.\n
And then, we get into the details. Putting together our concepts for the product and fleshing those out into detailed designs of interactions, screens, models, etc.\n\nNow we’re at a point where we can start to visualize what this thing is going to look like, the presence it will have in a physical or virtual space.\n
You’re all probably pretty familiar with the basic cyclical nature of the design process\nobserve/ a problem space > synthesize what we observe > create a solution to solve some specified problem\nput it out in the world in some way (wireframes, prototype, release, etc) and we begin the cycle again.\n\n
Most of you are also probably pretty familiar with the idea of generating a number of solutions and evaluating them; eliminating some, refining others, merging parts of them, until we come to one solution.\n\n
Inevitably we encounter some problems during this work…\n
Inevitably we encounter some problems during this work…\n
Inevitably we encounter some problems during this work…\n
Inevitably we encounter some problems during this work…\n
Inevitably we encounter some problems during this work…\n
Inevitably we encounter some problems during this work…\n
Inevitably we encounter some problems during this work…\n
Enter... THE BRAINSTORM\nIts pretty common to see teams pull the brainstorm card when they want to come up with something that everyone will agree to\n\nI’ll be honest. I HATE brainstorms. I don’t hate what they’re intended to do, but I hate the way they get executed. It’s like saying, “Hey, we have some shit we need to figure out, so lets all get together in a room for a while and talk about it without any real agenda.”\n
Lack Focus\nProgress to group think too quickly\nfail to generate a lot of ideas\n
Lack Focus\nProgress to group think too quickly\nfail to generate a lot of ideas\n
Lack Focus\nProgress to group think too quickly\nfail to generate a lot of ideas\n
Lack Focus\nProgress to group think too quickly\nfail to generate a lot of ideas\n
Lack Focus\nProgress to group think too quickly\nfail to generate a lot of ideas\n
Lack Focus\nProgress to group think too quickly\nfail to generate a lot of ideas\n
Lack Focus\nProgress to group think too quickly\nfail to generate a lot of ideas\n
If your goals are to generate ideas and get consensus on which idea(s) to pursue then it’s best to think of your meeting/workshop/whatever like this.\n
If your goals are to generate ideas and get consensus on which idea(s) to pursue then it’s best to think of your meeting/workshop/whatever like this.\n
If your goals are to generate ideas and get consensus on which idea(s) to pursue then it’s best to think of your meeting/workshop/whatever like this.\n
If your goals are to generate ideas and get consensus on which idea(s) to pursue then it’s best to think of your meeting/workshop/whatever like this.\n
If your goals are to generate ideas and get consensus on which idea(s) to pursue then it’s best to think of your meeting/workshop/whatever like this.\n
If your goals are to generate ideas and get consensus on which idea(s) to pursue then it’s best to think of your meeting/workshop/whatever like this.\n
If your goals are to generate ideas and get consensus on which idea(s) to pursue then it’s best to think of your meeting/workshop/whatever like this.\n
Design studio is an activity that does just this and does it while combining these ideals we have for the design process.\n\nThe activity itself comes form industrial design and architecture schools (and even appears in some art schools) and is built around these things called charrettes,\n\nA charrette is really nothing more than an intense period of design work which, in these schools would be followed by a presentation and then a critique from the instructor, other classmates, and perhaps other instructors.\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
For the purposes of our activity, a charrette breaks down into 3 pieces.\n\nSketching provides a way to quickly illustrate the concepts and components of a potential solution\nSketching allows us to quickly illustrate a concept and and explore how parts will fit together on a screen or in a flow.\n\nPresent is nothing more than putting our designs out for analysis. Participants put their sketches up in front of the group and describe quickly how they’re solution solves the problem at hand.\n\nCritique is a form of analysis that focuses on how a design does and does not meet a set of desired goals and principles.\nI’ll talk more about some specifics of critique in a few minutes. But it’s important to note how critical it is here. As it’s being relied upon to help determine the viability of ideas, not just against a problem we’re trying to solve for, but against other ideas.\n\n
Ok. So how do we set up this awesome activity?\n
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We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
We need to know who our audience or users are. From our research we should be able to derive a set of personas that describe them, there behaviors and goals.\nWe need to place those users in a likely situation in which their going to engage with our product. We derive these SCENARIOS from our experience visioning such as journey maps.\nFor the purposes of a studio you won’t necessarily need ALL of the personas and scenarios. You want to define the highest priority. These are the usually the ones that make up the majority of your audience and the situations that make up the majority of ways in which the product will be used.\n\n
Ok, you’ve got your people, you’ve got your materials, so now it’s time to start the workshop.\n\n\n
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We get this a lot. actually, we get it more often when we’re telling people about the workshop than we do when we’re introducing it to participants in the workshop.\n\nNo matter either way though, because it’s no big deal.\n
If you can draw these 4 basic shapes, you’ve really got all you need.\n\nAlso show sketches from past studios\n
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Practice with warm up if necessary - Grandma Email\n\n\n
5-8 minutes for individuals to sketch as many solutions as possible. (aim for 3 or 4)\nGoal is quantity over quality\nThese aren’t detailed sketches, but more high-level concepts: why we use 8 ups\nIf the scenario is long, might focus on lead in, first few steps, or generalize middle steps.\n\nOnce finished, everyone (within a team) posts their sketches on the wall (butcher paper) and then we move to presenting and critique.\n2-3 minutes to present your solution and then 3-5 minutes of critique from teammates\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
Facilitate the critique as little as possible, and remember to participate.\nAllow people to mark on sketches with red/green pens\n
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In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
In charrette 1. We were all about divergent thinking. It was quantity over quality.\n\nIn charrette two, after some analysis of all those ideas, we’re moving into convergent thinking. Sometimes we even do this in pairs. (my personal preference is to stick with individuals at this point)\n\nIn charrette three, we’re really focused on convergent thinking and concensus. Group collaboration is key here.\n
After all scenarios that will be addressed are complete\nAsk participants to identify and discuss any common themes, patterns, components that emerged.\nDocument any open questions and assumptions that arose.\nCollect all of this and the sketches\n\nImportant to remember that the Studio (in most situations won’t generate the entire concept)\nRegroup with your design team to review the concepts against the scenarios and refine to generate a single concept\n\n
After all scenarios that will be addressed are complete\nAsk participants to identify and discuss any common themes, patterns, components that emerged.\nDocument any open questions and assumptions that arose.\nCollect all of this and the sketches\n\nImportant to remember that the Studio (in most situations won’t generate the entire concept)\nRegroup with your design team to review the concepts against the scenarios and refine to generate a single concept\n\n
This is a time commitment. \n\nDon’t schedule on Mondays or Fridays.\n
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If any of you are interested in learning more about this activity, and experience it, and you’re attending UPA next month in Vegas, I’ll be giving a tutorial there. And if you’re not going to be there, well, for christ’s sake, change your plans and go.\n