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

1. 190504
GAMBAR COVER BUKU/
GAMBAR PENDUKUNG LAIN
lia s. Associates
BOOKCLUB
Managing The
Design Process
Chapter 4 - Chapter 5

2. lia s. Associates
Applied
Creativity
1

3. 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. = problem solving
More and More, clients recognize the value of design. But not every client
really understands how to work with a designer.
lia s. Associates
Creativity In a Business Environment

4. 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
lia s. Associates
Flow of Design Ideas

5. lia s. Associates
Big Goals
2
Great Design
Finding a balanced
response for each project is
at the heart of increasing
design’s potential for
meeting goals.

6. EMPLOYEE
COMMUNICATION
SUSTAINABILITY
BRANDING OF
EXPERIENCE
GLOBALIZATION
INNOVATION
lia s. Associates
THE BIG GOALS

7. lia s. Associates
Design-Centric
Research
3

8. lia s. Associates
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
MEASURING DESIGN
TUJUAN RISET (PENELITIAN)
= DARI TIDAK TAHU MENJADI TAHU

9. 1. Traditional Market Research
Demographics, Focus groups, Psychographics (VALS (Value & Lifestyles)
1. Ethnographic Research
Observational research, Visual anthropology, Photo ethnology
1. User Experience Research
Observational research, Web analytics,
Persona (developing hypothetical users)
1. Classic Design Research
Visual audits, Prototype testing, Participation
1. Blended Research
Basically… A bit of everything above
lia s. Associates
RESEARCH FOR DESIGN

10. lia s. Associates
Strategic
Thinking
4

11. Strategy = a plan for how to achieve a goal
Steiner’s definitions of strategy in business:
● It is what top management does that is of great importance to
the organization
● Refers to purposes and missions—the basic directional
decisions of an organization
● Consists of the relevant and important actions required to realize
these directions
● Answers the question, “What should our organization be doing?”
● Answers the question, “What ends do we seek and how will we
achieve them?”
lia s. Associates
DESIGN & STRATEGY

12. Strategy is About Differentiation. Value Disciplines:
1. Operational Excellence. Driven by production efficiency,
the objective is to lead in terms of price and convenience.
This strategy implies world-class marketing, manufacturing, and
distribution processes.
2. Customer Intimacy. Driven by customer service,
the objective is long-term customer loyalty and profitability.
This strategy means staying close to customers and developing
real relationships with them.
3. Produce Leadership. Driven by being state of the art,
the objective is timely commercialization of new ideas.
This strategy hinges on market-focused research and
development and organizational agility.
lia s. Associates

13. Most designers refer “strategy” or a “design strategy” to:
● A plan for what to make and do for a client
● How to use graphic design elements to meet a client’s goals
● A pattern of actions leading to a design solution
● The guiding concept behind a design
● How to translate brand vision into designed solutions
● A set of creative decisions about how to approach goals,
purposes, and objectives
● How to position the client in their competitive landscape
● Narrowing the design possibilities to focus the work
● How to innovate using design in a contextual sense
● How to leverage social responsibility, cultural relevance,
technology, customer needs, and other factors in a design
lia s. Associates
WHAT IS DESIGN STRATEGY

14. Project Profile in Strategic Thinking
Study case:
Email marketing campaign for Cusp Conference
designed by SamataMason / Chicago • Vancouver
lia s. Associates

15. DESIGN STRATEGY = integrated, holistic planning process that
examines the interplay between design & business strategy.
Any design strategy should address the following:
● Opportunities to differentiate
● Unmet client/customer needs
● Existing problems
● Emerging ideas & trends
The way these issues are addressed is the essence of the strategy.
WHAT IS DESIGN STRATEGY
lia s. Associates

16. lia s. Associates
Design as
Strategic
Business
Tool

17. lia s. Associates
Developing
a Design
Strategy
Design
strategy is only
effective if both
the client and
the designers
are committed
to its integrity.

18. lia s. Associates
Case Study in Strategic Thinking
Finn Creative / Kununurra, Australia (page 86-87)
The circle represents inclusion and
universality. Wunan is a regional
organisation and we work with all
Aboriginal people of the East Kimberley.
The equal sign represents results and
choice. Wunan’s function and objective is
to be a facilitator, a bridge to the results
achieved by individuals making their own
choices, on their own behalf - benefiting
themselves and their communities.
The colours reflect the uniqueness of the
East Kimberley: Wunan and the Aboriginal
people we serve operate in a region of
spectacular beauty, rich in social and
economic opportunities.
The positioning line reflects Wunan’s
philosophy of individual choice and
responsibility. In short, Wunan equals
opportunities, choice and the East
Kimberley.

19. lia s. Associates
Case Study in Strategic Thinking
Finn Creative / Kununurra, Australia (page 88-89)
Gelganyem Trust

20. lia s. Associates
Case Study in Strategic Thinking
Finn Creative / Kununurra, Australia (page 91-93)
Form Gallery: Canning Stock Route

21. lia s. Associates
MANAGING AESTHETIC STRATEGY
Question to ask:

22. lia s. Associates
Case Study in Strategic Thinking
Paprika (page 96-97)
Les Allusifs (The Allusives)

23. lia s. Associates
Case Study in Strategic Thinking
Good Design Company / Tokyo, Japan (page 98-103)
Suntory: Shinruchu (Apricot Wine)

24. lia s. Associates
Case Study in Strategic Thinking
Good Design Company / Tokyo, Japan (page 98-103)
Tokyo Midtown

25. lia s. Associates
Case Study in Strategic Thinking
Good Design Company / Tokyo, Japan (page 98-103)
Laforet Harajuku

26. lia s. Associates
Case Study in Strategic Thinking
Saatchi & Saatchi / Moscow, Russia (page 104-105)
Olay Total Effects Poster “Correct Your Age”

27. lia s. Associates
EVALUATING DESIGN STRATEGY
Here are some questions to ask to evaluate the effectiveness of a design stratey:

28. lia s. Associates
ARTICULATING DESIGN STRATEGY
It is worth taking the time to present it well.
Using concise language and well-designed PDF, booklet, or slide show,
will help the client visualize the strategy much more easily.
If they understand it, and it is well formulated and articulated,
the client is much more likely to approve it.
The key to successfully presenting a design strategy is
in helping clients form an image in their mind that seems actionable.
They can see how the design will become
a tangible tool to help them achieve their goals.
Plus, they will more easily be able to articulate the strategy to others
(the internal teams & their customer).

29. Here are some things to watch out for:
- Lack of participation from the client
- Rushed or haphazard backgrounding
- Insufficient thinking and analysis
- Simplistic reactions to complicated issues
- Inability to make decisions
- Lack of focus on specific details
- Overly elaborate plans that go nowhere
- No buy-in from key individuals
- Lack of oversight and commitment
- Piecemeal instead of holistic approach
- Pessimism or intimidation
- Lack of drive or passion
- Attachment to the status quo
- Murky communications
- Fear of the unknown or untried
- People just don’t like it
lia s. Associates
Common Mistakes in Design Strategy

30. Case Study in Strategic Thinking
Marco Morosini Studio / Pesaro, Italy (page 110-111)
Mister Nut
lia s. Associates

31. lia s. Associates
Informed
Risk Taking
5

32. There are SAFE DESIGNERS.
On the opposite end of the spectrum, more daring designers will show
unexpected and intriguing concepts that confront preconceived notions
= RISK TAKER DESIGNERS.
In designers’ perspective: risk is about developing work that
sets a new standard, while still meeting stated client goals.
New is unusual, and new can be scary.
There are SAFE CLIENTS or RISK TAKER CLIENTS
… and also CHERRY-PICKING CLIENTS.
“Risky” in client’s perspective:
- something negative, it might mean danger, tension, or even loss
+ potential upside benefits of being truly innovative.
Risk does involve some gambling.
lia s. Associates
TAKING CREATIVE RISKS

33. Making informed and calculated creative risks means
limiting negative outcomes as much as possible.
The way to accomplished this is to have:
+ Clear goals & objectives
+ Aware of the audience
+ Understand the competition is doing
+ Know where the client fits into the picture (niche)
+ Be sure of what must be communicated.
>> In short: reminder to do research (apply the chapter 1-3)
lia s. Associates
TAKING CREATIVE RISKS

34. Assessing Risk
The decision to take a creative risk or play it safe depends on many factors:
● How big is the client organization? (large company or small organization)
● How high profile is the project?
(small initiatives limited audience or large-scale projects seen by many)
● How fierce is the competition?
(beaten in the marketplace or seated in the top spot)
● What is the product/ service category?
(conservatives industry or trend driven/cutting edge industry)
● What is the client culture like? (as a group or as a brand,
are they dynamic and flexible or drawn to safety and security)
● Who is the client contact? (down to the personality)
lia s. Associates

35. Case Study in Informed Risk Taking
Change is Good / Paris (page 116)
Currency Magazine
lia s. Associates

36. ● Be consistent with the essence of the client’s brand.
● Be authentic. If it’s not true, the design is a lie.
● Amplify the client’s strengths.
Address weaknesses in the design thinking.
● Differentiate by emphasizing what makes the brand unique.
● Recontextualize the client’s business category by
considering their customers’ total lifestyle.
● Do involve the client’s customers. Listen to them.
● Don’t play to the lowest common denominator,
take it up to a higher level.
● Remember, “No guts, no glory.”
● When in doubt, trust the designer’s intuition.
lia s. Associates
Some ways to make creative risk-taking less risky:

37. Case Study in Informed Risk Taking
Asylum / Singapore (page 118-119)
Times of Jakarta
lia s. Associates

38. Case Study in Informed Risk Taking
Asylum / Singapore (page 120)
Little Village
lia s. Associates

39. lia s. Associates
Case Study in Informed Risk Taking
Asylum / Singapore (page 121)
Utter Rubish

40. Case Study in Informed Risk Taking
Asylum / Singapore (page 122-23)
Chocolate Research Facility
lia s. Associates

41. Innovative design means taking a calculated risk
The best client for designers are the ones who really know their
company and brand inside and out.
This type of client, knows enough to hire a great design consultant
(highly trained expert) and then let them do their job to the fullest.
How can a designers elevate their clients’ level of trust in them?
lia s. Associates
PRESENTING RISKY IDEAS

42. 1.
Do the initial creative presentation in person.
It is not always possible, but it is valuable to be able to
gauge reactions and pick up on nonverbal cues.
lia s. Associates
PRESENTING RISKY IDEAS
Illustrated by Ash Oat. Source:
https://www.duarte.com/presentation-skills-resources/7-ways-to-make-your-best-powerpoint-presentations/
Illustrated by Ash Oat

43. 2.
Keep design rationale statements brief and the language simple.
Exhaustive explanations filled with jargon
mostly sound hyperbolic and insincere.
lia s. Associates
PRESENTING RISKY IDEAS
Illustrated by Ash Oat

44. 3.
Maintain eye contact and don’t read to them.
It’s a live performance meant to personally connect you and
the client with each other, and to the design.
Practice also your facial expression.
lia s. Associates
PRESENTING RISKY IDEAS
Illustrated by Ash Oat

45. 4.
Make the visuals to right scale for the presentation.
If it’s to one person at their desk make it smaller.
For a large group in a conference room, project large visuals from
a laptop onto a wall—or even safer, print it out on large sheets.
lia s. Associates
PRESENTING RISKY IDEAS
Illustrated by Ash Oat

46. 5.
Associate your design choices with the client’s goals and objectives.
Explain aesthetics only in those terms.
Avoid justifications of personal preferences.
Make sure the client gets that these are not arbitrary,
but design solutions based on real information.
lia s. Associates
PRESENTING RISKY IDEAS
Illustrated by Ash Oat

47. 6.
Be clear, respectful, & respond to client questions
regarding the presentation.
Don’t be defensive. Listen. Address concerns.
Go back and reiterate how this design works to solve their problem.
If revisions are requested, summarize what is needed.
lia s. Associates
PRESENTING RISKY IDEAS
Illustrated by Ash Oat

48. 7.
Don’t design at the table.
If revisions and refinements must be made, thank them for their input
and leave the presentation with a timetable for the next presentation.
Come back and do it all again.
lia s. Associates
PRESENTING RISKY IDEAS
Illustrated by Ash Oat

49. How can a designers elevate their clients’ level of trust in them?
1. Do the initial creative presentation in person.
2. Keep design rationale statements brief and the language simple.
3. Maintain eye contact and don’t read to them.
4. Make the visuals to right scale for the presentation.
5. Associate your design choices with the client’s goals and objectives.
6. Be clear, respectful, and respond to client questions regarding the
presentation.
7. Don’t design at the table.
lia s. Associates
PRESENTING RISKY IDEAS

50. Case Study in Informed Risk Taking
Brand New School / Los Angeles, New York (page 126)
Emirates Airlines “The Journey” https://www.youtube.com/watch?v=D9zoyNISA0U
lia s. Associates

51. Case Study in Informed Risk Taking
Brand New School / Los Angeles, New York (page 130)
Soy Joy “Battle of the Beans” https://www.youtube.com/watch?v=-k-VCSft2v4
lia s. Associates

52. THANK YOU
lia s. Associates