Managing The Design Process oleh Terry Lee Stones Mengoptimalkan penggunaan design grafis dalam cara yang praktis dan nyata. Memahami bagaimana proses kolaborasi yang berlangsung akan perlu mempelajari beberapa bahasa baru, juga tools dan teknik, dalam mengaplikasikan menejemen design dan hubungannya dengan konsep kepemimpinan design

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BOOKCLUB
Managing The
Design Process
Intro - Chapter 3

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● This Book is about how to harness the power of
graphic design in a real and practical manner.
● For The Purpose of this book. Here is a working
definition of each term:
1. Design management
2. Design leadership

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1. Design Management
The process of coordinating and directing design resources to achieve a stated
objective
2. Design leadership
The process of utilizing design as a management tool to determine and achieve
strategic goals

5. Traits of managers vs leaders
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Warren Bennis, an American
scholar, author, and
organizational expert who is
regarded as a pioneer in
leadership studies, defined a
clear dichotomy in the behavior
of managers and leaders.

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How To Use
This Book
A

7. Some Key things That Can Help You In Practice:
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➢ What kind of research is done on the project and how extensive
is it? What did they learn and was it worth the effort?
➢ How did the designer translate this discovery information into a
design concept? Would you have made a similar creative
choice?
➢ What tools did the designer use to help convince their client that
the concept was right? Could you adapt these tools for use with
your clients? What issues or concerns did the client have about
the design?

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➢ How were these addressed? What kind of risk was required on
the part of the client to accept the designer’s recommendations?
➢ How were the designs evaluated and tested? What insights were
gained and how did that affect further design refinements?
➢ After all was said and done, what is the finished design? What
delivery medium was used? Was it effective? What do you
personally think of it?

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Managing The
Design Process
B

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B. Managing The Design Process
Things that most affect the phases of work
B.1.
Communication
Timely and effective communication and knowledge sharing
throughout the process is necessary. Incomplete or lax communication
will sabotage a design.

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B.2.
Scope Of Work
Massive projects may require repetition of certain phases, while smaller
projects with less complexity may combine steps.

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B.3.
Timing
Compressed schedules mean shortening phases and skipping details.
Luxurious timeframes allow for more extensive work in each phase.

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B.4.
Budget
Less money equals less work. Large budgets accommodate more work
through more lengthy and involved procedures.

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B.5.
Delivery Media
Choice of delivery medium can mean more (or less) extensive collaboration
with other types of collaborators and can affect the process.

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Applied
Creativity
1

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There are several points that can be learned:
Design is not just for designers.
The Design Council UK says “ Good design is a
quantifiable benefit, not a cost. Its value can be
measured economically, socially, and environmentally”
Everything manmade is designed by someone, so it makes sense to
consider exactly how and why things are designed.
More and More, clients recognize the value of design. But not every client
really understands how to work with a designer.
Creativity In a Business Environment

17. Project Profile In Applied Creativity
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Hudson Gavin Marting (HGM) Branding Design by Alt group

18. Project Profile In Applied Creativity
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Hudson Gavin Marting (HGM) Branding Design by Alt group

19. Project Profile In Applied Creativity
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Hudson Gavin Marting (HGM) Branding Design by Alt group

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The Danish Design Centre (DDC) design “ladder” describes four
levels of commitment to design
STEP ONE: Non Design
STEP TWO: Design Is Styling
STEP THREE: Design as Process
STEP FOUR: Design as Innovation
Design’s Importance to Clients

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Strong design is what makes people connect
with products and services in a real and
meaningful way.
Defining Design’s Power Role

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● Establish or improve an image
● Identify them (clearly show who/what they are)
● Articulate the brand, its mission, and promises
● Differentiate them, make a product or service stand out from
competitors
● Alleviate uncertainty and confusion in the marketplace
● Understand and track performance against competitors
Clients Expectations:

23. Project Profile In Applied Creativity
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Benjamin Bixby Identity
“Risk is crucial to the process, and fearlessness brings great
rewards.”

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Every designer is an artist and entrepreneur, they
must be creative on demand one moment and
professional at next.
How Designers Work

25. Flow of Design Ideas
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visionary creative director establishing the look and feel and central
concept an imaginative solution that gets presented to a client and is
approved in theory

26. Collaborative or Solo Work Flow
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Team designer flow starts from a
design that is expert and creative and
ends with a very technical one.
A solo designer without additional
team members, has to handle all of
these job specifications, and is also
knowledgeable in all the tasks
involved..

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5 Ways To Determine A Good Designer - Client Match
1.BACKGROUND
2.EXPERTISE
3.PROFESSIONALISM
4.CHEMISTRY
5.PARAMETERS

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Big Goals
2

29. DESIGN IN AN EVER-CHANGING WORLD
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30. Shifting Values
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From mass consumption to
more individual or carefully
considered buying behaviors,
sustainability and social
responsibility become significant
factors in what is perceived as
quality no matter what the
clients’ product or service is
https://dailyhive.com/vancouver/emerging-consumer-trends-customization/

31. Great Design
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Finding a balanced response for each project is at the
heart of increasing design’s potential for meeting goals.

32. Design Thinking
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COLLABORATIVE
ABDUCTIVE
EXPERIMENTAL
PERSONAL
INTEGRATIVE
INTERPRETIVE

33. The Big Goals
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EMPLOYEE
COMMUNICATION
SUSTAINABILITY
BRANDING OF
EXPERIENCE
GLOBALIZATION
INNOVATION

34. CASE STUDY IN BIG GOALS: INNOVATION
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CVS/pharmacy: Beauty 360

35. CASE STUDY IN BIG GOALS: INNOVATION
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Full Throttle

36. CASE STUDY IN BIG GOALS: INNOVATION
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Starbucks

37. CASE STUDY IN BIG GOALS: INNOVATION
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Starbucks

38. DESIGN SUPPORT INTERNAL COMMUNICATION
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39. PROJECT PROFILE IN BIG GOALS: EMPLOYEE
COMMUNICATION
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Sun Microsystems, Inc.

40. CASE STUDY IN BIG GOALS: GLOBALIZATION
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Google

41. CASE STUDY IN BIG GOALS: GLOBALIZATION
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DJ Uppercut

42. CASE STUDY IN BIG GOALS: GLOBALIZATION
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Nike

43. CASE STUDY IN BIG GOALS: GLOBALIZATION
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Nike

44. CASE STUDY IN BIG GOALS: INNOVATION
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Jemapur

45. SOCIALLY RESPONSIBLE DESIGN
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Whether the goal is crossing cultures and uniting people
through globalization or motivating and supporting
environmental consciousness and sustainability, an
understanding of various changing contexts is important for
successful design

46. Designers need to be socially responsible in the broadest sense
of the term, essentially, using their powers for good
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AWARENESS
SENSITIVITY
INTEGRATION
ASSESSMENT
VERIFICATION

47. PROJECT PROFILE IN BIG GOALS: SUSTAINABILITY
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Nickelodeon Magazine

48. CASE STUDY IN BIG GOALS: SUSTAINABILITY
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Design Can Change

49. CASE STUDY IN BIG GOALS: SUSTAINABILITY
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Ascent

50. CASE STUDY IN BIG GOALS: SUSTAINABILITY
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Borealis

51. CASE STUDY IN BIG GOALS: SUSTAINABILITY
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Northern British Columbia Tourism

52. CASE STUDY IN BIG GOALS: SUSTAINABILITY
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SEI: The Green Report Card

53. MEASURING DESIGN
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FACTOR TO ASSES
Quantitative Qualitative
Process improvement
Overall cost savings
Reduction in materials and waste
User/community interaction
New market adoption
Customer satisfaction
Brand reputation
Increased aesthetic appeal
Improved functionality

54. THE TRIPLE BOTTOM LINE
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55. Making the Most of Design Investment
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➔ Do the right job
➔ Understand the audience
➔ Focus
➔ Organize Revisions
➔ Hire the right designer

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MoMA Digital Display
CASE STUDY IN BIG GOALS: EXPERIENTAL BRANDING

57. CASE STUDY IN BIG GOALS: EXPERIENTAL BRANDING
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MoMA Digital Display

58. CASE STUDY IN BIG GOALS: EXPERIENTAL BRANDING
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Victoria’s Secret Fashion Show

59. CASE STUDY IN BIG GOALS: EXPERIENTAL BRANDING
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Wynn Las Vegas Aquatic Extravaganza

60. CASE STUDY IN BIG GOALS: EXPERIENTAL BRANDING
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Ground Zero Redesign

61. Creating Moments
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Experiential engagement are not based on what
messages to communicate and what media should be
used to carry them. Rather, they advise us to think
about what could make a great brand/consumer
“moment.”

62. Creating Moments
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➔ Where would it be?
➔ What would it involve?
➔ How would it be staged?
➔ How would it be remembered?
➔ How would it be retold?

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Design-Centric
Research
3

64. IMPORTANCE OF RESEARCH FOR DESIGN
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1. Traditional Market
Research
2. Ethnographic Research
3. User Experience
Research
4. Classic Design Research
5. Blended Research
If these
numbers
are right…
I have no
idea what I
am doing.

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1 Traditional Market Research
Broadly speaking, market research is any organized effort to gather
information about customers. Some methods traditionally used
include
● Demographics: looking at quantifiable statistical data that
describes a group of people or target market segment.
● Focus groups: where a group of people from the target market
are led in a discussion to solicit opinions and reactions.
● Psychographics: a means of evaluating subjective beliefs,
preferences, and opinions. It seeks to determine why people do
what they do.

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2 Ethnographic Research
Ethnography is a type of research rooted in anthropology that looks at
the links between culture and human behavior. Viewed both from a
group’s or individual’s perspective, these research observations
describe people based on thought, behavior, and actions. Some
methods include
● Observational research views and records behavior without
interacting with or questioning people.
● Visual anthropology allows a trained researcher to photograph or
review photos and visual reference materials in order to draw
conclusions about people.
● Photo ethnology requires that the people being studied
photograph or record themselves, revealing their preferences and
behaviors.

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3 User Experience Research
This type of research measures the ability of a product or service to meet
the needs of the end-user. Sometimes called “testing” or “usability
testing,” it lets researchers view behavior directly. Some methods include
● Observational research views and records people as they interact
with a product or service. Often used as validation for design
concepts.
● Web analytics track users behavior on a website using quantitative
metrics built into the site. These statistics measure a set of variables
and illustrate the user interaction with website content.
● Personas are a theoretical method of developing hypothetical users
for a product or service that springs from the discipline of interactive
design. An archetype or hypothetical perfect user is created, then
their motivations, lifestyles, and expectations are examined.

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4 Classic Design Research
Mostly, information gathered first-hand by the designer through visual
review and subjective analysis. Methods include
● Visual audits: review of client and/or competitor products and
services plus their related designed materials, in situ. Observations
are typically photographed.
● Prototype testing: creating iterations of a design, making a mock-up
or prototype, using it, and making refinements as necessary.
● Participation: the designer personally experiences the product or
service for themselves and records impressions and insights.

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5 Blended Research
Some form of subjective and objective, qualitative and quantitative, field
and lab methods are used.
Basically… A bit of everything.

70. African Pride CASE STUDY IN DESIGN-CENTRIC RESEARCH
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71. Urban Intelligence: itsTMI.com
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72. Creme of Nature
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RESEARCH ALIGNS AND FOCUSES DESIGN
The scale and complexity of the design research typically depends on
several factors. The more research available to a designer, the better their
decision making can be.
Key Factors for Deciding Research Method
● Client’s category of product or service
● Budget
● What is being researched
● Number of people being studied
● Time frame

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Ways to Look at Research
Research is considered to be either
● Quantitative, which measures objective numerical, or fact-based,
data.
● Qualitative, which focuses on subjective data, like thoughts, feelings,
motivation, and other qualities that describe people.
In addition, research can be
● Primary, which is information that is gained directly and is
commissioned by the client for this purpose i.e paid
● Secondary, which is information obtained indirectly by studying
existing data from a variety of sources i.e team/designers initiative.

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Visualizing Research
Creating pie charts, diagrams, and comparison tables allows both
designer and client to make sense of the information. What do they find
useful? What is not? These things become more apparent when
diagrammed.

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Why Research Matters
● The actual problem
● Realistic objectives
● The context
● The consumer/audience
● Purchasing decisions
● Behavior/use
● The competition
● Verbal/visual language

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Project Profile in Design-Centric Research
Supermarket

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DESIGN RESEARCH IS ABOUT BETTER
DESIGN THINKING
Of all the design disciplines… Graphic designers are often criticised
for their lack of research vigor.
In their defence because their work is part of a holistic suite of branding
activities, and there are so many different conditions and contributions to
the success of branding, their work is hard to validate or measure directly.
Therefore, most graphic design is considered a success because
of consensus, not empirical data.
Designers need to observe carefully how people behave, interpret
the reasons and meaning for this behavior, and either recreate or
reinvent it for their clients in order to get the desired result. Simply
put, research makes designers better at what they do.

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Reasons for Research Failure
It’s essential to plan and execute the research
studies properly to ensure good results
● Lack of clarity
● Wrong subjects
● Bad instrument
● Dubious sources
● Limited information

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Three Useful Research Tactics
Just reviewing a client’s existing branding efforts is
going to speak volumes to a designer.
Interviews
Logically, having an open discussion without bias is a great way to gather data.
Surveys
Using a sample group that represents a larger target audience. Typically
assisted online by offering incentive to participants can be insightful.
Observations
Sometimes by what people say is not the same as what they do. Observing
people interact with products is more accurate.

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DEFINING THE AUDIENCE:
DEMOGRAPHICS AND ETHNOGRAPHY
Where to start?

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Identity, Culture, and Experience
People in general fall into three categories when it comes to
measuring research.
Identity, Culture, and Experience
IDENTITY: gender, race, age, memberships, or profession
These are factual and can be gathered using demographic research.
CULTURE: Defined by groups i.e traditions, nationality, social
norms, religions.
Derived from ethnographic research
EXPERIENCE: aspirations? Decisions? As based on individuals
and group factors.
Derived from psychographic research.

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Demographics
These characteristics go towards assisting designers
greatly to get an idea who they are targeting.
• Gender
• Age
• Race
• Ethnicity
• Education level
• Marital status
• Family size
• Income level
• Number of earners in the household
• Employment status
• Own or rent home
• Amount spent on this product/service category
• Frequency of use/purchase of this product/service

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Ethnographic Research Process
For the most part, ethnographic research is done as
direct, first-hand observation.
Ethnography dissects a person’s culture and what they believe and
value.
What are the clues, gestures, and language they use to interact and
communicate with others?
What is the ethos of this culture?
When this data is translated to design, it answers the question:
What is the world view and how does it influence, and dictate the
thoughts and behaviors of people within the client’s target
audience?

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DEFINING THE AUDIENCE:
PSYCHOGRAPHICS
Psychographics explores factors that deal with a person’s motivations -
the “whys?” of behavior. The kind of information researched:
Buying
Habits
Goals and
aspirations
Special
interests
Lifestyle
choices

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Advantages of Using Psychographics:
● Discover emotional factors that motivate customers
● Classifies customers according to a combination of variables:
activities, interests, and opinions
● Helps to determine which attributes of a product or service resonate with customers
● Shows customers’ predisposition toward purchasing the product or service
Disadvantages of Using Psychographics:
● Can be expensive to do a proper survey
● Target audiences for some products or services may come from a cross section of
psychographic profiles, so several groups may need to be studied
● Critics complain that these studies are complicated and lack proper theoretical
underpinning

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VALS: Values and Lifestyle Categories
Using psychographics helps determine what type of person is
most likely to respond to a client’s product or service.
The Stanford Research Institute (SRI) has developed a psychographic categorization
system called VALS (for “Values and Lifestyles”) that breaks people into eight different
clearly defined types
What VALS does is help with Market segmentation which is
designed to guide companies in tailoring their products and
services in order to appeal to the people most likely to purchase
them.

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DEFINING THE MEDIUM
If research is all about helping to understand how to get the right
message to the right people in the right way, then a designer
must use research to inform their recommendations about media
as well.
These methods are always changing... and so must you.

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THINGS TO PONDER
• What do they use now?
• What are they most comfortable with?
• What will make the client more appealing to them?
• How do the client’s competitors talk to them?

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Media Agnostic
Serious designers embrace the idea of being able to design for any and
all media platforms.
How to be awesome like MJ?
You need to understand each media,
the pros and cons of designing for each
one…
While being clear on how these tools are
interpreted by the target audience.

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Common Denominators
Serious designers… embrace the idea of being able to design for any
and all media platforms and how to apply their work on the chosen
medium.
It requires an understanding of:
• Content (images and words)
• Flow of information (narrative)
• Interaction (physical or virtual)
• User’s behavior (pro and con)
If in doubt… try them all so you can determine if the audience accepted
or rejected the design?
And what is the best media for the message?

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Delivery Medium

96. THANK YOU
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