SET, DESIGN AND BLOOM A design thinking business strategy for young entrepreneur designers
Final project submitted to the faculty of the Design Management program at the Savannah College of Art and Design, in partial fulfillment of the requirements for the degree of Master of Arts in Design Management. Winter 2016 DMGT-748 Design Management M.A. Final Project Professor: Tom Hardy Book Editor: Hannah Moyers Content Editor: Adam Johnson
Cover image: Figure 1. Young entrepreneur designers’ work at ShopSCAD. Author’s image.
2
Design Management (noun) incorporates the resources necessary to fuse design and business strategies by creating opportunities where the key players in the innovation system can address problems holistically.
Figure 2. Photo of group meeting. Retrieved from: http://www. oininteractive.com.
3
Figure 3. Young entrepreneur designers’ work at ShopSCAD. Author´s image.
4
Introduction Set, Design and Bloom is a case study of young entrepreneurs with a design background to help them succeed in their venture. The researcher used design thinking to earn knowledge and understand their needs in order to translate them into opportunities for design. The purpose of this study was to develop a strategy based on the findings to help young entrepreneur designers define, create and grow their businesses. Having this in mind and considering that design is the main driver for them, the result of the research showed that in order to succeed, young entrepreneurs needed to define their identity with their clients. The strategy developed in this case study helps young entrepreneur designers to know how their brand identity is being perceived and give suggestions for improvement where it is needed. By defining a strong brand identity, entrepreneurs can foster a solid relationship with their clients that will allow them to be known and to communicate the message they stand for.
DEVELOP A STRATEGY
5
for always encouraging me Dedication I dedicate this project to my parents, for always encouraging me to believe in my dreams; to my sister and brothers, for being my partners in crime; and to my uncle Ernesto and my aunt Socorro for their unconditional support. Part of who I am I owe it to you. You have helped me to become the person I am today. Thank you!
6
& always inspiring me Acknowledgement I would like to thank my professors: Bill Lee —Thank you for leading the DMGT team at SCAD; Sara Johnson —Thank you for making me believe in myself; Regina Rowland —Thank you for teaching me the importance of organization and specificity in the design process; Tom Hardy —Thank you for inspiring me to be a better designer; Bruce Claxton —Thank you for encouraging me to pursue my ideas. Thanks to all the people I met during this journey in Savannah. I take all those memories with me. Thank you Cool-Kids—you know who you are. Kathe and John, thank you for pushing me to be my best.
7
Table of contents project FRAMING p.11
Project positioning p.23
REsEARCH p.55
Opportunities for design p.95
Concept Exploration p.117 8
Final Design To Market p.129
Conclusion & Recommendations p.147
Annotated bibliography p.153
List of Figures p.159
Appendices p.165
9
10
project FRAMING 11
starting from square one Figure 4. Photo of gallery. Retrieved from: http://www.artfund.org/what-to-see/ museums-and-galleries/parasol-unit.
12
Subject of Study This study focuses on helping emerging young designers start a personal entrepreneurial venture by applying Design Management methods to identify opportunities for success.
Defining YED: Young Entrepreneur Designers People coming from a design background who have an idea/design that can be marketable, and who want to start an entrepreneurial venture.
13
Figure 5. Work in progress. Retrieved from: https:// www.virgin.com/entrepreneur/7-steps-to-becominga-perfect-stay-at-home-entrepreneur.
14
Problem Statement Emerging young designers face challenges and opportunities when starting an entrepreneurial venture. Designers do not understand the link between defining themselves as an entrepreneur, finding opportunities and the market structure in order to develop a brand and nurture relationships with clients (shop/buyers) and end consumers. According to Victor Margolin, a Professor Emeritus of Design History at the University of Illinois, Chicago, in his article The Designer as a Producer: “An emerging global marketing structure is also changing the way that goods are sold� (2002, p. 1). We need to understand these factors in order to improve the chances for young entrepreneur designers to succeed in this environment.
15
Figure 6. Photo of Savannah’s Forsyth Park fountain. Retrieved from: http://www.covingtontravel. com/2015/02/the-art-of-southern-living-in-savannah/.
16
Savannah, GEORGIA
Target Audience The target audience for this project is emerging young entrepreneur designers within the Savannah, Georgia, area who want to start an entrepreneurial venture.
17
Figure 7. Photo of Foxy Loxy CafĂŠ. Retrieved from: http://savannahnow.com/do/2013-03-21/savannahcoffee-house-foxy-loxy-shoots-major-expansion.
18
Purpose of Study The focus of this study is to understand
 the factors that make it difficult for young designers to start an entrepreneurial venture on their own and to discover how Design Management might be used to help them succeed.
DESIGN MANAGEMENT
19
10 weeks Scope of Study This study was developed during the ten-week winter 2016 quarter (January 6th to March 15th). Secondary research was started over winter break. Contextual research was conducted in Savannah, Georgia, due to its positive position for emerging young designers. However, qualitative research might be collected from different locations to support findings of the primary research.
20
Figure 8. Photo of an art gallery. Retrieved from: http://creativeartsnetwork.co.uk/monograph/article/ featured-co-working-studio-space-weld.
SIGNIFICANCE TO THE DESIGN MANAGER Through this project, the researcher had the opportunity to apply the knowledge acquired in his graduate studies by focusing on young entrepreneur designers. This study helped the researcher to gain deeper understanding of impact of design in entrepreneurship. As the researcher is pursuing a career in the field as a design strategist, this exercise helped him to discern the importance of research in Design Management as a source of gaining insight for concept development.
SIGNIFICANCE TO THE WORLD The essence of this project is to foster entrepreneurship in the design field as a successful income source. Therefore, the impact of this project to the world will be creation of better job opportunities not only for designers, but also the creative industries overall.
SIGNIFICANCE TO THE DESIGN MANAGEMENT FIELD This project contributes to the Design Management field by transferring methods and principles used in Design Management to the entrepreneurial field. This might result in the adoption of Design Management as an innovation driver in other fields.
21
22
project POSITIONING 23
Figure 9. Photo of Satchel store. Author´s image.
24
MANIFEST VISION
Opportunity Statement Young entrepreneurs with a design background are creative minds eager to start their own business venture, but they lack personal leadership skills to fully step into the role of an entrepreneur or the strategic-thinking skills needed to manifest this vision. There is an opportunity to apply Design Management methods and principles to develop strategies for designers to evolve into successful entrepreneurs.
25
Strengths User centered design. Easy to use.
Weaknesses Missing features. Has not been tested in the market.
Flexible and inclusive.
Opportunities Understand the process of entrepreneurship. Provide a fresh problem-solving guide.
Threats Not accepted by entrepreneurs. Intense competition with incubators. Misunderstanding of the concepts.
Figure 10. SWOT Analysis of Set, Design and Bloom. Author´s image.
26
OVERVIEW ASSESSMENT SWOT Analysis This SWOT analysis shows an overview of the project in order to assess its strengths, weaknesses, opportunities and threats.
27
TRACKING ENTREPRENEURS Positioning Map This 2x2 represents the people who were the subjects of this study, and positions them depending on whether they have an entrepreneurial or a corporate focus, and whether they are centered more towards business or design in their activities.
28
Entrepreneurs
Business
Design
Corporation
Ellia
Jennifer
Claire
Victoria
Elva
Benjamin
Elizabeth
Bea
Figure 11. 2x2 Analysis of young entrepreneur designers in Savannah, GA. Author´s image.
29
SWEET SPOT Positioning Map This 2x2 represents the actual panorama in Savannah, Georgia. It indicates that this project should be high-impact and low-cost.
30
Area of Opportunity
High Impact
Low Cost
High Cost
Low Impact
Creative Coast
Savannah Entrepreneur Center
Figure 12. 2x2 Analysis of the entrepreneurial support panorama in Savannah, GA. Author´s image.
Thinc Savannah
31
zag steps What are they? Marty Neumeier provides a 17 step process for radical differentiation in competitive markets. These steps were used to differentiate this project from its competitors.
32
SET DESIGN AND BLOOM Who are you? Set, Design and Bloom is a design thinking strategy developed for young entrepreneur designers with the aim to help them succeed in their business venture.
ZAG STEP ONE
33
bring THEM to life What do you do? I help young entrepreneur designers to define who they are, find business opportunities and bring those opportunities to life.
ZAG STEP TWO
34
FACILITATE THE TOOLS What’s the vision? The vision of Set, Design and Bloom is to facilitate the tools needed to enhance a design entrepreneurial venture.
ZAG STEP THREE
35
ENTREPRENEUR VENTURES IN DESIGN What are you riding? Set, Design and Bloom rides the entrepreneurial wave, where people are pursuing a venture on their own and, in this case people pursuing ventures within a design background.
ZAG STEP FOUR
36
DIY & INCUBATORS Who shares the landscape? Do-it-yourself books, incubators and the growing number of organizations that are offering similar services.
ZAG STEP FIVE
37
DEFINE WHO YOU ARE What makes you the “only?� This strategy provides a step-by-step guide that specifically helps young entrepreneur designers define who they are in the entrepreneurial landscape, in order to develop opportunities for business.
ZAG STEP SIX
38
integrate to adapt What should you add or subtract? Integrate other entrepreneurial fields to see how the toolkit can be adapted for other disciplines.
ZAG STEP SEVEN
39
designers starting a business Who loves you? Young entrepreneur designers who are figuring out how to start a business on their own.
ZAG STEP EIGHT
40
Entrepreneur INCUBATORS Who’s your enemy? Entrepreneur incubators, because they take advantage of young entrepreneur designers by offering them similar services at a high cost.
ZAG STEP NINE
41
set design and bloom What do they call you? Set, Design and Bloom.
ZAG STEP TEN 42
A TOOLKIT for YED S How do you explain yourself? Set, Design and Bloom: A Design Management strategy for young entrepreneur designers to help them define, create and grow their business.
ZAG STEP ELEVEN 43
BEGIN with: WorD-of-mouth How do you spread the word? At first, by word-of-mouth between young entrepreneur designers, then by pitching it to entrepreneurial advisers, and finally through advertising it in different channels.
ZAG STEP TWELVE
44
APPLICATION & EXPERIENCE How do people engage with you? Through the application of the strategy to a real entrepreneurial idea.
ZAG STEP THIRTEEN
45
step-by-step guidance What do they experience? Young entrepreneur designers experience a step-by-step guidance that will lead them to define, create and grow their businesses.
ZAG STEP FOURTEEN 46
FACILITATING A PERSONAL JOURNEY How do you earn their loyalty? Through providing helpful tools that will assist them to build the personal strategic plan that will facilitate their entrepreneurial journey.
ZAG STEP FIFTEEN 47
sharing the results How do you extend their success? By sharing results within the entrepreneurial community and by adapting the toolkit to other fields.
ZAG STEP SIXTEEN
48
copyright law & patent How do you protect your portfolio? The project can be protected by copyright law once it is published, and the strategic plan can also be patented.
ZAG STEP SEVENTEEN
49
Figure 13. Photo of ShopSCAD. Author´s image.
50
Value Proposition For Young Entrepreneur Designers who are pursuing a business venture using design as a main driver to provide solutions for the market. We do this by providing strategy that drives the entrepreneur through the different phases needed to succeed in the venture. Unlike other strategies Set, Design and Bloom provides a unique user-centered guidance addressed to entrepreneur designers.
THROUGH THE STAGES
51
Onliness This is the only strategy that provides guidance through the most important phases of the entrepreneurial journey, using design thinking as a strategy to tackle obstacles that might arise.
52
Figure 14. Photo of young entrepreneur designers work at ShopSCAD. Author´s image.
53
54
RESEARCH 55
identifying relationships Research Space Map The secondary research is mapped according to the umbrella question in terms of the project´s three objectives: define, create, and grow.
56
Exchange Half circle = A+B
Half circle = C+D
A. Internal
C. Money and credits
B. External
D. Goods and services
marketing market purpose
values
2.CREATE
1.
OPPORTUNITIES
DRIVE YOUNG ENTREPRENEURSHIP
finance plans manufacturing
vision
products
community
3. retailer
customers
GROW BUSINESS
investors partners
1.
Gaimon, C., & Bailey, J. (2013). Ling, B. 9 (2011, May 5). Neumeier, M. (2006). Nigam, A. (2014). O’Grady, James K (2012).
2.
Bloch, P.H. (1995). Kumar, V. (2012). Nielsen, S., & Christensen, P. (2014). Vandekerckhove, W., & Dentchev, N. A, (2005).
Figure 15. Research space map. Author´s image.
3.
Clark, T., Osterwalder, A., & Pigneur, Y. (2012). Le Masson, P., Hatchuel, A., & Weil, B.(2011). Kolko, J. (2010). Lookwood, T. (2010). Margolin, V. (2002). Norman, D. A. (2013).
57
HOW MIGHT WE.. How might we use Design Management principles and techniques to better serve young entrepreneur designers?
What do I need to know?
Why do I need to know this?
What can be used for young
To gain a deeper
entrepreneur designers?
understanding of
How adaptable can they be in different situations?
Design Management; to understand the adaptability and
How can existing methods be
opportunities of
addressed on a micro-level?
these methods can
How can they be used?
be addressed on a micro-level
What is the current state and future potential market for young entrepreneur designers?
What are current selling
To identify areas
platforms?
of opportunity and
What is the difference between them? What are the trends for the
how they can be used to benefit young entrepreneur designers
next five years?
What skills do young entrepreneur designers need to get started?
What is the road map that
To understand
young designers go through
what they face and
to start their businesses?
identify how Design
What knowledge is needed to start a business? How can the gap between business and design be bridged? Figure 16. Research matrix. Author´s image.
58
Management on a micro-level can be applied
...use design management methods to help Young Entrepreneur Designers define, create, and grow their business? What type of data is needed?
Where can I find this data?
What type of data collection methods are needed for this sub-question?
Secondary and primary
–Books
–Interviews
qualitative data
–Academic articles –Experts in the field –Institutes (i.e. DMI, Universities)
Secondary and
–Books
–Interviews
primary qualitative and
–Academic articles
–Observations
quantitative data
–User interviews –Immersive experience –Shadowing
Secondary and
–Books
–Interviews
primary qualitative and
–Academic articles
–Observations
quantitative data
–Experts in the field –Institutions (i.e. Thinc Savannah, Odesk)
59
HOW MIGHT WE.. Who do I contact for collecting this data?
When do I need to get this data?
How might we use Design Management principles and techniques to better serve young entrepreneur designers?
–Professors
–Secondary research
–Design Managers
will be conducted during
What is the current state and future potential market for young entrepreneur designers?
–Retail store managers
–Secondary research will
–People in the business field
be conducted during the
–Buyers
winter 2015 break
–Consultants
–Primary research will be
the winter 2015 break –Primary research will be conducted as stated on the project timeline
conducted as stated on the project timeline
What skills do young entrepreneur designers need to get started?
–Entrepreneur designers
–Secondary research will
–People in the business
be conducted during the
field
winter 2015 break –Primary research will be conducted as stated on the project timeline
Figure 16. Research matrix. Author´s image.
60
...use design management methods to help Young Entrepreneur Designers define, create, and grow their business? What will I be taking away from this data?
What might I be missing? How might I be wrong?
I will have an
Being really broad and
understanding of how
not narrowing down the
Design Management
core concepts that can
can be scaled to fulfill a
be useful for the project
specific need
I will learn the behavior
Misunderstanding the
of the retail industry
differences between the
and how young
market opportunities
entrepreneurs can take advantage of it
I will gain a deeper
Clustering all young
understanding of the
entrepreneurs designers
young entrepreneur’s
into one category
basic needs to start their businesses
61
RESEARCH PROTOCOLS 1. Interviews Complete Interview Questions located in Appendix D
2. Consent Forms Completed Consent Forms located in Appendix B & C
3. AEIOU Observation Complete Observation located in Appendix B & D
62
Figure 17. Research protocols examples. Author´s image.
63
Figure 18. Photo of observation´s notes. Author´s image.
64
Research Methodology The research methodology is a qualitative contextual case study within an ethnographic lens. This study is contextual because the researcher has immersed himself into the field of study. It is a case study because the researcher examined examples of actual young entrepreneur designers, and it has an ethnographic lens because the researcher has examined the population of young entrepreneur designers.
65
Figure 19. Photo of Shop the Fox. Author´s image.
66
Data Collection Methods Eight open-ended interviews were conducted with subjects in the Savannah, Georgia area; these interviews were transcribed and analyzed in order to bring out significant information. Three observations were held in different contexts: one in an entrepreneurial home-studio, one in an entrepreneur-owned store and one in a retail store that sells entrepreneur-produced goods.
67
Figure 20. Photo of research synthesis. Author´s image.
68
Data Analysis All collected data from primary and secondary research was placed on a “working wall.� Then, connections between them were made to create clusters of information to identify areas of opportunity. Once these pain points were found, design models were applied, with the objective of developing key insights that lead the researcher to opportunities.
69
Synthesis/INSIGHTS Believe in yourself p.72
Professional Passion p.74
DESIGN IS THE HEART OF MY BUSINESS p.76
70
COMMUNITY IS KEY p.78
DOING IT MY WAY p.80
TEACH YOURSELF p.82
FOCUS CLEAR VISION p.84 71
BELIEVE IN YOURSELF 72
Being an entreprenuer is an individual channel synthesis Believing in yourself and having a vision helps you to understand entrepreneurship “It is hard to start and most of the work has to be done by yourself.” —Ellia “When I started I didn’t have any business experience. I have a degree in Fashion Design from SCAD.” —Elizabeth “…stay true to yourself, stay behind your product, be confident and sell it.” —Victoria
73
The line between the professional and the personal blurs You can make a living doing what you love Branding yourself makes you different and known “I work at home, I have a studio at home. Sometimes home becomes office and office becomes home.” —Ellia “It was just sort of a natural thing, you know, sort of creating a business out of this passion that I have.” —Benjamin “I think that for a lot of young entrepreneur designers, it is hard to come up with `how to market themselves´.” —Victoria
74
PROFESSIONAL PASSION 75
Design is the heart of my business 76
There is an emotional connection between design and product Considering a holistic design is important Design supports my work “Young entrepreneur designers make really amazing work that they put their heart into, so it shows.” —Victoria “I believe designers are creators.” —Bea “Design entrepreneurship means innovation, and making a difference.” —Ellia
77
Building a community is crucial for your brand development Never underestimate the value of networking “…being able to meet clients and let them know they are supporting a local business...” —Elizabeth “At first, you find the challenge of building your team, it´s hard to be a one-person company. So you have to find support.” —Ellia “You help someone out and they´ll help you out, and really ingraining yourself in the community is important.” —Benjamin
78
COMMUNITY IS KEY 79
DOING IT MY WAY 80
Finding your niche improves success Entrepreneurs listen and design for their customers “I started to know the clientele and make decisions thinking of them.” —Victoria “If we don’t have what you´re looking for, we can custom-make it for you.” —Elizabeth “I look for fashion trends and focus not only on style wise, but also on what customers are looking for.” —Ellia
81
Being an entrepreneur is a “learn as you go” process Finances are a constant struggle
“I call Savannah small city big town, so it was kind of easy to get your feet wet and learn as you go.” —Elizabeth “…there´s a different challenge every day, at each step of the way.” —Ellia “I use an online accounting software that is free called `wave´.” —Claire
82
TEACH YOURSELF 83
Focus Clear Vision 84
Looking at the complete picture solves problems Organization is critical for entrepreneurial success Being resourceful and flexible are important qualities for entrepreneurs “Believe in yourself and approach the entrepreneur journey with the question: would I or would I not hire myself? And if the answer is yes, go for that and stay with that conviction.” —Bea “Commitment, being really passionate and really committed to what you want to do because you´re not going to go anywhere if you don´t.” —Benjamin “Your face is a different face every day and you´re constantly thinking about your company, you´ve no time off work.” —Elva 85
EMILY ROTENBERG
Figure 21. Emily Rotenberg. Picture representing persona one. Retrieved from: http://www.youroralhealthhub.com/ oral-health-on-the-job/.
PERSONA ONE
Emily has a passion for printmaking. Emily is a junior student at the Savannah College of Art and Design. She dedicates 15 hours a week to school and in her spare time she does printmaking of her designs to support herself with a little bit of extra money. Emily started selling her designs to her family and friends upon request, and recently she saw an opportunity to turn her hobby into a 86
business. She set up a profile on ETSY and uploaded some of her designs. She found that online selling is a low investment business with a good return. A couple of weeks ago, she started to place her designs in a local coffee shop as a way to expand her business and earn local recognition.
Needs
Pain Points
To define herself as an entrepreneur—make an identity statement, brand her venture, and structure a business plan.
Struggling with finances, having to organize her time between school and work, not being recognized as an entrepreneur.
Motivations
Satisfaction Points
To learn about the business side of the venture, place her work in other cities and have her own online store.
Becoming Economically independent, having a low investment in the venture with a good return.
DEMOGRAPHICS Single
Illustration Major
22 years old
Lives in college dorm
In Savannah, Georgia
Figure 22. Photo of printing process. Retrieved from: https://www.khanacademy.org/partner-content/MoMA/moma-printmaking/v/moma-relief-process.
87
JOSE Portas
Figure 23. Jose Portas. Picture representing persona two. Retrieved from: http://www.jesserogers.co/about/.
PERSONA TWO
Jose has a master’s in jewelry design. Jose comes from a business-oriented family, and since he was little, he had an interest in art and design. He decided to pursue an Industrial Design degree and during these years he found a way to express his feelings through jewelry. After he finished his undergrad, he decided to do a Master’s in Jewelry to develop his passion for jewelry. Coming from a business family, he was always making 88
business out of his designs. He decided to take the risk and started his own jewelry brand. He sells his work worldwide through his personal website, and he has placed some of his designs in local retail stores. He also goes to trunk shows around the United States to promote himself.
Needs
Pain Points
To develop a networking channel to be known, and to structure a plan for his growing business.
Having a hard time trying to tell the story behind his designs, as well as getting recognition and brand identity.
Motivations
Satisfaction Points
He has built the business from scratch, which makes him feel pride. He wants to become known worldwide with his designs, and he wants to share his experience with up-andcoming entrepreneurs.
Showing his work in trunk shows, his family supporting him with the business side of the venture, and having his own website to sell his designs.
DEMOGRAPHICS Single
Bachelor in Industrial Design
26 years old
Shares flat with a roommate
In Savannah, Georgia
Figure 22. Photo of printing process. Retrieved from: https://www.khanacademy.org/partner-content/MoMA/moma-printmaking/v/moma-relief-process.
89
Julianne Johnson
Figure 24. Julianne Johnson. Picture representing persona three. Retrieved from: https://www.khanacademy.org/partner-content/ MoMA/moma-printmaking/v/moma-relief-process.
PERSONA THREE
Julianne owns a studio-retail store. Julianne studied fashion design and while studying, she started to sell her designs. After she finished her Bachelor’s she worked for a couple of years in New York, where she met her future husband. They settled down in Savannah a year ago, and she saw the opportunity to start a business opening a studio-retail space to work and sell her designs. She decided to invite other local 90
designers into her venture in order to share expenses and have diversity of goods. The business has been running for six months with good success, and Julianne looks forward to sharing her business model with other entrepreneurs so she can expand her idea to other cities.
Needs
Pain Points
To have a business model to be able to share the studio-retail store with other people, to have her time organized between being a wife/mother, designer, and business manager.
Losing her designer identity by helping others, and not dedicating enough time to her family.
Motivations
Satisfaction Points Owning her own business, supporting a community, and fulfilling her design passion.
To build a community to join forces and succeed, create a model that can be taken by other entrepreneurs, and see her designs in the market.
DEMOGRAPHICS Married
Fashion Designer
33 years old
Has a year-old baby
In Savannah, Georgia
Figure 22. Photo of printing process. Retrieved from: https://www.khanacademy.org/partner-content/MoMA/moma-printmaking/v/moma-relief-process.
91
SIMPLIFYING EVERYTHING Research At-a-Glance The following affinity map shows the most important connections between primary and secondary research where clusters were made to identify areas of opportunities.
92
a prof
ess
ion
l
Believe eel F -
passion
De
sig
vision
unity - purpos comm e n-
learnING
my way - s elf
t
aug h
t
Figure 25. Research At-a-glance map. Author´s image.
93
94
OPPORTUNITIES FOR DESIGN
95
HOW MIGHT WE'S & OPPORTUNITIES Believe in yourself p.98
Professional Passion p.100
DESIGN IS THE HEART OF MY BUSINESS p.102 96
Focus Clear Vision p.104
Community Is key p.106
Doing It My way p.108
TeacH Yourself p.110 97
BELIEVE IN YOURSELF Young entrepreneur designers believe that they are capable of making a difference with their work. They have goals that they are pursuing in their own way, having in mind that they are the only ones who are going to make them happen. They are risk takers who have an entrepreneurial skill and are using it to fulfill everything on their own.
98
l
pr
profofess ess ion ion a a
ieve - Bel eel - Believe - F Feel l -
passion passion
vision vision
unity - pur commmmunity - purppoosese n -- co sig n DDeesig
learnING learnING
my way my way - se s elf lf ta tau ug gh ht t
How might we use the trust young entrepreneurs have in themselves as a motivation for success? OPPORTUNITIES There is an opportunity to create a tool that increases young entrepreneur designers’ self-confidence and improves their motivation to succeed.
99
PROFESSIONAL PASSION Young entrepreneur designers perform their work because of a passion that they have. Making money for them is a pleasure because they do what they like, to the point where home becomes office and office becomes home. They use themselves to promote what they are doing; they understand the importance of branding themselves to earn recognition in the market. Therefore, they make money out of their passion.
100
l
pr
profofess ess ion ion a a
ieve - Bel eel - Believe - F Feel l -
passion passion
vision vision
unity - pur commmmunity - purppoosese n -- co sig n DDeesig
learnING learnING
my way my way - se s elf lf ta tau ug gh ht t
How might we bridge the gap between entrepreneurial passion and business? OPPORTUNITIES There is an opportunity to provide a visual map that shows how entrepreneurial passion and business intersect in order to find an entrepreneurial position.
101
DESIGN IS THE HEART OF MY BUSINESS Design is the center of the universe for young entrepreneur designers. Their work is supported by design; it is used as a main driver in every aspect, from concept development to retail display. They listen to customers in order to understand what they need/want, and they are translators who transfer those thoughts into ideas. Coming from a design background has helped them to provide innovative solutions.
102
l
-
p
prof rofes ess sio ion na a
ieve - Bel eel - F l - Believe l Fee
passion passion
vision vision
unity - pur comm munity - purppoosse e n - com sig n De esig D
learnING learnING
mmy ywwayay- -s eslefl ft
autgau htgh t
How might we utilize the design process to support the venture? OPPORTUNITIES There is an opportunity to incorporate design as a part of their brand image in order to create coherence and a distinguished brand Identity.
103
FOCUS CLEAR VISION Young entrepreneur designers can recognize opportunities by looking at the complete picture, and at the same time they are capable of finding a flexible strategy to accomplish their goals. They are resourceful; they can work with what they have in their pockets. Young entrepreneur designers take their venture seriously because they believe being an entrepreneur is a serious business.
104
l
-
p
prof rofes ess sio ion na a
ieve - Bel eel - F l - Believe l Fee
passion passion
vision vision
unity - pur comm munity - purppoosse e n - com sig n De esig D
learnING learnING
mmy ywwayay- -s eslefl ft
autgau htgh t
How might we help young entrepreneurs find a clear vision of themselves and their business? OPPORTUNITIES There is an opportunity to assist young entrepreneur designers through a visual map to clarify who they are as a person in the entrepreneurial field to ensure their unique brand identity.
105
COMMUNITY IS KEY Team building is important for young entrepreneur designers. Taking part in a community improves growth for the business as well as opening their vision. Furthermore, networking plays a very important role in entrepreneurship. As young entrepreneurs become their own brand, connecting with people might lead to new business opportunities.
106
propfrofe ess ssio ion na a
l l
ieve - Bel eel lieve - F el - Be Fe -
passion
passion
D
unity - pur comm unity - purppoose se n - comm sig De esign
learnING learnING vision vision mmyy wwaayy s s e leflf tatuau ghgh tt
How might we gather young entrepreneur designers together to join forces and support each other as a community? OPPORTUNITIES There is an opportunity to create a workshop to share thoughts and foster personal brand identity, networking and support among young entrepreneur designers.
107
DOING IT MY WAY Young entrepreneurs make a statement to define their personality and where to they want to go. They do it by finding a niche and providing what it needs. They listen and design for customers; they find ways to make them feel important; they know that customers are their most important assets and they have a unique way to appeal to them.
108
propfrofe ess ssio ion na a
l l
ieve - Bel eel lieve - F el - Be Fe -
passion
passion
D
unity - pur comm unity - purppoose se n - comm sig De esign
learnING learnING vision vision mmyy wwaayy s s e leflf tatuau ghgh tt
How might we ensure entrepreneur designers maintain an independent fresh perspective by being user-centered? OPPORTUNITIES There is an opportunity to guide them using an interactive process to find where they are placed in the market as an entrepreneur and to find a user-centered brand identity to resonate with their target market.
109
TEACH YOURSELF Entrepreneurship is a “learn as you go along� process. Young entrepreneur designers support themselves with books, websites and workshops that help them learn the entrepreneurial process. Finance is the most common pain point for young entrepreneur designers, and they rely on external help in order to overcome their lack of skills in this area.
110
propfrofe ess ssio ion na a
l l
ieve - Bel eel lieve - F el - Be Fe -
passion
passion
D
unity - pur comm unity - purppoose se n - comm sig De esign
learnING learnING vision vision mmyy wwaayy s s e leflf tatuau ghgh tt
How might we provide knowledge and guidance that could be helpful for young entrepreneur designers? OPPORTUNITIES There is an opportunity to create a database for sources that young entrepreneurs might use to cultivate their personal identity and business strategy or brand.
111
DESIGN CRITERIA The opportunity map shows the discoveries found during the research synthesis as well as the opportunities for design criteria to help young entrepreneur designers be unique in the field.
CRITERIA Include a guide to define personal identity as entrepreneur. Assist in increasing the value of design. Design a strategy to expand earned knowledge. Offer a perspective of different market scenarios to seek the most convenient one for the user. 112
Increase self-confidence
The business side
PER F R E S SPE H CTI VE
Show passion and business intersection
passion ates rpor Inco s i g n De
Find a place in the market
UNIQUE
learnING vision
D E F IN E YOURSELF
Design as part of the brand Who I am, and share my experience
Figure 26. Design criteria map. Author´s image.
113
LET'S SUMMARIZE Based on the main research question, data regarding how to define, create and grow an entrepreneurial venture within the design field was collected and affinitized. Research, findings, insights, and opportunities were organized into three categories:
Passion Learning Vision Based on these three categories design criteria were generated.
REFRAMING This project was not about launching a business; instead it needed to be about developing a strategy for establishing an entrepreneurial identity. 114
Figure 27. Photo of young entrepreneur designer’s studio. Author´s image.
115
116
CONCEPT EXPLORATION 117
crazy eights Once opportunities for design were defined, an ideation activity called Crazy 8´s—fast sketching development under a short period of time (eight minutes, eight ideas)—took place in order to generate broad concepts for each insight. The results were analyzed under the criteria parameters, and the top three were detailed to determine the most relevant.
118
Concepts to be reviewed Flashcards for Young Entrepreneurs Strategic Vision Workshop Young entrepreneur designers’ facilitation package for identity development
119
Flashcards for young entrepreneur designers Figure 28. Photo of flashcards concept. Author´s image.
120
Concept One A set of flashcards with questions regarding the seven insights found will be created. Questions would be developed in a brainstorm session with experts in order to identify the most helpful brand identity questions that need to be answered by young entrepreneur designers. The dynamic of the concept works as a game, where the player gets a set of cards (one per insight—seven total). The question that needs to be answered is on the front of each card, and users will write their answers on the back. After completing the seven rounds the player will have to determine which pain points need to be worked out.
OBJECTIVE To make entrepreneurs conscious of their venture identity dilemmas through gamification. As well, to help them identify which factors are not being perceived the way they should. These findings can be used to improve brand identity perception.
121
Strategic vision workshop Figure 29. Photo of workshop concept. Author´s image.
122
Concept Two Using the Strategic Vision methods developed by The Grove, a workshop will be set and led by an expert in order to facilitate a session where the entrepreneurs will be driven through different visual models to find the strategic vision for their brand venture. Participants will be able to look at their current situation and develop a new vision for a desired future.
OBJECTIVE To visualize the current scenario of the brand venture and plan a strategy for a future direction. To help entrepreneurs gain a holistic view of each stage and encourage entrepreneurs to visualize a ‘bigger picture’ of the brand venture.
123
Young entrepreneur designers facilitation package for identity development Figure 30. Photo of toolkit concept. Author´s image.
124
Concept Three A toolkit will be developed using different design thinking frameworks that will lead entrepreneur designers into identifying three rational attributes and three emotional attributes (adjectives) of their brand. After determining these attributes, they will be placed on one end of a semantic differential scale, with their antonym on the other, in order to measure how the main aspects of the brand identity of their venture are perceived.
OBJECTIVE To provide a tool where entrepreneurs evidence aspects of their venture through different design thinking models and test the results with clients to see how their identity elements are perceived. The feedback will show the aspects that might need to be adjusted.
125
Figure 31. Photo of workshop for concept choosing. Author´s image.
126
Concept Chosen Young entrepreneur designers’ toolkit for identity development After having a workshop session with experts in the entrepreneurial field, the three concepts were pitched and feedback was recorded. After that session, the third concept, “Young Entrepreneur Designers’ Toolkit for Identity Development,” was chosen because it meets the criteria needed for the target audience. In addition, it serves as a guide to identify brand attributes to be used to test identity elements and see how they are perceived. The test will determine if they need to be adjusted or kept as they are. Finding the most appropriate company personality as a young entrepreneur designer can be accomplished by employing a design thinking facilitation package to develop a brand identity that is unique and resonates with the target audience of the venture.
127
128
FINAL DESIGN TO MARKET 129
FINAL DESIGN Figure 30. Photo of toolkit concept. Author´s image.
130
The Young Entrepreneur Designers’ Toolkit for Identity Development OBJECTIVE Finding the most appropriate company personality as a young entrepreneur designer is accomplished by employing a design thinking toolkit to develop a brand identity that is unique and resonates with the target audience of the venture. “Young Entrepreneur Designers’ Toolkit for Identity Development” is a design thinking facilitation package to determine identity attributes to assess how the consumers perceive identity elements, and to assist with making changes if needed.
131
QUESTIONS 132
EMOTIONAL HEART What do you want customers to love about your brand? How do you connect emotionally with your customers? What single adjective describes what you want your brand to feel like?
RATIONAL BRAIN What feature separates your brand from its biggest competitor? How do you want customers to describe the performance of your brand? What best describes the experience of using your offerings?
Figure 32. Emotional and Rational questions. Author’s image.
133
TESTING 134
In order to measure the effectiveness of this toolkit, testing can be conducted with the subject of study of this project. To do so, the researcher must contact them again to have a workshop session where he will take them through the toolkit until they are able to go out and test the semantic differential with their clients. Once they have the results, they will meet again to share their outcomes and develop a strategy to improve their brand identities. Feedback from the participants using the toolkit will be gathered in order to improve it.
135
THE TOOLKIT 136
Figure 33. Elements of the toolkit. Author’s image.
137
Young Entrepreneur Designers’ Toolkit for OBJECTI Identity Development
Finding the most appropriate entrepreneur designer is acc thinking toolkit to develop a b resonates with the target aud
CONTENT
A design thinking facilitation package to determine identity attributes to assess how consumers perceive brand identity elements.
SWOT Analysis
Finding brand Identity attribu
OBJECTIVE Finding the most appropriate company personality as a young entrepreneur designer is accomplished by employing a design thinking toolkit to develop a brand identity that is unique and resonates with the target audience of the venture.
CONTENT
SWOT
SWOT stands for Strengths, Weaknesses, Opportunities and Threats. Identifying what makes your brand unique by using a SWOT model will allow you to have a better vision to answer the attribute questions for the next stage.
Strengths What you are good at
Opportunities What is next
Weaknesses What you can do better
Threats What is giving you a hard time
SWOT Analysis Finding brand Identity attributes Semantic differential positioning Application of the Semantic Differential with customers Recommendations & Conclusions
138
Figure 34. Objective and content page for the toolkit . Author’s image.
Figure 35. SWOT analysis page for the toolkit . Author’s image.
Semantic differential position
Application of the Semantic D
Recommendations & Conclus
IVE
RATIONAL
IDENTITY ATTRIBUTES
Rational attributes (guided more by conscious reasoning than by experience, and not adversely affected by emotions).
Adjectives (Antonym) Bank
What feature separates your brand from its biggest competitor?
Functional (Impractical) Flexible (Rigid) Comfortable (Uncomfortable) Social (Unsociable) Useful (Useless) Original (Unoriginal) Global (Individual) Cultural (Non-cultural) Innovative (Uncreative) Progressive (Static)
How do you want customers to describe the performance of your brand?
The next step is to identify three rational and three emotional attributes of your brand. To do that, six questions (three emotional and three rational) are listed bellow with a bank of answers (adjectives) to choose from.
What best describes the experience of using your offerings?
Figure 36. Identity attributes page for the toolkit . Author’s image.
e company personality as a young complished by employing a design brand identity that is unique and dience of the venture.
Questions
Figure 37. Rational attributes questions page for the toolkit . Author’s image.
EMOTIONAL
T
(aimed at highlighting emotional factors, such as looks, status value, or popularity of a product, instead of the logical or practical factors).
utes
ning
Differential with customers
sions
Questions
Adjectives (Antonym) Bank
What do you want customers to love about your brand?
Enlightened (Confused) Chic (Old-fashioned) Sophisticated (Unsophisticated) Fresh (Conventional) Unique (Common) Creative (Uncreative) Intense (Light) Calm (Agitated) Traditional (Unusual) Contemporary (Antiquated)
How do you emotionally connect with your customers? What single adjective describes what you want your brand to feel like?
Figure 38. Emotional attributes questions page for the the toolkit . Author’s image.
139
Semantic Differential
OBJECTI
The Semantic Differential scale is an attempt to measure the semantics or meaning of words, adjectives chosen by the designer, and their referent concepts or brand identity elements. For this context the customer is going to be asked to choose where his or her position lies, on a scale between two bipolar adjectives.
Finding the most appropriate entrepreneur designer is acc thinking toolkit to develop a b resonates with the target aud
The six adjectives defined will be placed on a semantic differential scale along with their bipolar adjectives in order to test how brand identity elements (Name, Logo, Color scheme, House style, Website and Offerings—Product, Service, Process or System) are perceived by customers.
CONTENT SWOT Analysis
Finding brand Identity attribu
Semantic differential position
Application of the Semantic D
Recommendations & Conclus
HOw-to Instructions: Six adjectives have been placed with their correspondent antonym adjectives to see where your position lies for the brand identity element showed. Please place your opinion about each element on each sheet.
Brand Identity Elements Name Logo Color scheme House style Website Offerings: Product, service, process or system
140
Figure 39. How to use it page for the toolkit. Author’s image.
USE IT Application of the Semantic Differential with Customers Cut outs of the Semantic Differential scale are provided in this toolkit to allow entrepreneurs to go out and find how the brand identity is perceived with customers. You will have to fill up the model with the adjectives (adjective and its opposite adjective), distribute it to your customers and show them one of the six brand elements. They will have to fill up one of the models for each element. Instructions for this activity are found on the back of the cut out.
RECOMMENDATIONS & CONCLUSIONS
IVE
e company personality as a young complished by employing a design brand identity that is unique and dience of the venture.
The researcher encourages participants to do this testing and find out if the message they want to send with their brand identity is being perceived the way they want it. The way to find out is on the following cards.
T
utes
ning
Differential with customers
sions
Figure 41. Recommendations and Conclusions page for the toolkit. Author’s image.
Step one
Step Two STRONG
Mark a line in the middle of the scale
Step THREE
WEAK MEDIUM
The two lines closer to the antonym side (right) are going to be discarded, and the three remaining lines are going to defined as strong (left), medium (middle) and weak (right).
If that is not happening, adjust the brand identity element and test it again as many times as needed to aim for your desired purpose.
The objective of this activity is to see how your brand identity elements are resonating with the values you want to communicate. This scale will help you determine what elements need to be improved. The goal is to be on the strong line.
Figure 40. Steps page for the toolkit. Author’s image.
141
Key Partners
Key Activities
Value Propositions
Incubators
Facilitation package distribution and production
To provide a facilitation package for young entrepreneur designers to help them find their venture´s identity and gain a better understanding of the market structure to offer a holistic brand identity.
Other designers Printing providers Investors
Brand and product management Developing new products Advertising marketing Workshops
Key Resources Design team for product development CRM team Marketing and advertising Website Publishing and printing
Cost Structure Developing new products Product production
Employee pay role: CRM, Designers, Strategy researchers
Website cost
Product distribution
Figure 42. Business Model Canvas for the toolkit. Author’s image.
142
Corporate salary Storage (inventory)
Customer Relationships
Customer Segments
Offering product updates
Young Entrepreneur Designers (YED):
CRM through website, FAQ´s and social media
Business Model Canvas
People coming from a design background
YouTube tutorials Age range from 18-35 years old
Channels Printed facilitation package Social media network Incubator engagement Workshops
Revenue Streams Price of product sales: Users & Incubators Investors
Workshops Online sales
Consulting
143
NEXT STEPS 144
Short term (6 months) MATERIAL REVIEW AND PILOT Due to the short term of this project, the target audience was limited only to the Savannah, Georgia area. The researcher will expand his research to other cities either to gain more insights or to prove his current ones. Also, the researcher will run a pilot implementation with other Young Entrepreneur Designers in the area.
Mid term (9 months) FUND THE PROJECT Once the toolkit has been revised and fixed in order to cover consumers´ needs, it will be funded by investors to create a partnership that will allow the creation of the company and the launching of the product.
Long term (12 months) FINAL OFFER The reviewed manual will be launched on the website, distributed to incubators, and workshops will be hosted to explain how it works. The objective for this stage is to spread the word and reach users from different places and brand the toolkit as one of the most useful toolkits for brand identity. 145
146
conclusions & recommendations
147
CONCLUSION This project started as an opportunity for the researcher to immerse himself into the entrepreneurial field and learn more about what moves these people to start their own ventures using design as a driver. In the beginning, the topic was very broad, and as the research continued, it was narrowed down to identify pain points to be addressed.
148
The driver used for this project was based on using an ethnographic lens to gain insights that will lead into opportunities for design. Seven insights were found and categorized into three main subjects: Passion, Learning and Vision. Opportunities for design showed that the most important thing to help young entrepreneur designers was developing an identity. Young Entrepreneur Designers have brilliant ideas to market, but their lack of brand identity in their venture does not allow them to be recognized and resonate with their target audience. Focusing on solving brand identity, the researcher developed a toolkit to help the user define brand attributes about their venture and to go out and test them to see how their brand identity is being perceived. The results of that test will help the user to know if the brand identity is resonating with the message that he or she wants to send. The researcher believes that through the application of the toolkit, the user can determine if the brand identity is being perceived as it should, or whether adjustments are needed to bridge the gap between the brand identity and the consumer.
149
RECOMMENDATIONS 150
Play with it! The researcher encourages young entrepreneur designers to take advantage of this toolkit and find how their brand identity is working. It is important to find out how the venture is communicating values and earning recognition.
Follow your dream! Young entrepreneur designers’ ideas are driven by a passion. Do not leave that passion behind. Instead, use it as a motivation to keep going.
Find out who you are! Finding brand identity will help you to be known and be recognized by your customers. Use it to send a message out there and communicate the essence of your venture.
151
152
Annotated bibliography 153
Bloch, P. H. (1995). Seeking the ideal form: Product design and consumer response. Journal Of Marketing, 59(3), 16. In this article the author provided his position about the impact that design has on success in the market. The author determined that the designer must identify the issue to be solved in order to be successful. The author introduced a concept model and some positions the explain the relationship between the product and the end consumer by giving a strategy for research directions.
Clark, T., Osterwalder, A., & Pigneur, Y. (2012). Business model you: Dein leben-deine karriere- dein spiel. Frankfurt, Germany: Campus Verlag. This book provides the basic concepts of design management. It explains how design management is an interdisciplinary profession that seeks a better understanding among the key players. Through case studies, the author explains different scenarios for a better understanding of the design process.
Gaimon, C., & Bailey, J. (2013). Knowledge management for the entrepreneurial venture. Production & Operations Management 22(6), 1429-1438. doi:10.1111/j.1937 5956.2012.01337. The authors provided a perspective of how design managers might adopt a dynamic learning perspective of entrepreneurship to understand how knowledge management activities change throughout the four phases of a venture´s lifecycle. They do that through a framework that identifies the capabilities needed for success in the venture.
Kolko, J. (2010). Exposing the magic of design: A practitioner’s guide to the methods and theory of synthesis. Oxford, England: Oxford University Press. This book addresses the importance of synthesis in the design process and how the designer can make sense of the whole picture before other people can see it.
154
Kumar, V. (2012). 101 design methods: A structured approach for driving innovation in your organization. Hoboken, NJ: John Wiley & Sons. This book is one of the core books for innovation in design. It provides methods that can be applied in different stages for user-centered research in order to collect, analyze and synthesize data. This book will help find insights to drive innovation in the project.
Le Masson, P., Hatchuel, A., & Weil, B. (2011). The interplay between creativity Issues and design theories: A new perspective for Design Management studies?. Creativity & Innovation Management, 20(4), 217-237. doi:10.1111/j.1467 8691.2011.00613. The authors discuss the relationship between creativity issues and design theory. They examine three historical periods in design to link creativity and design. The outcome is a new perspective on ways to manage design. They also use it to analyze recent trends and creativity and design theories.
Ling, B. 9 (2011, May 5) 9 lessons from a design entrepreneur. [Web log post]. Retrieved from http://designsojourn.com/9-lessons from-a-design-entrepreneur/ The author provides his own experience in the entrepreneurial field and provides his thoughts on life as a design entrepreneur. He shares his knowledge to help other entrepreneurs succeed in the field.
Lockwood, T. (2010). Design thinking: Integrating innovation, customer experience, and brand value. New York, NY: Skyhorse Publishing, Inc. In this book, the author gathers different essays that narrow down the subject of Design Thinking. It provides a deep overview and understanding of Design Thinking that allows the reader recognize its power.
Margolin, V. (2002). The designer as producer. ICSID news, 1-3. In this article, Victor Margolin talks about how the designer becomes a producer. Through examples he draws a journey of how the market has changed and also how technology has opened new opportunities to distribute products. 155
Annotated Bibliography (cont’d) Neumeier, M. (2006). ZAG: The number one strategy of high performance brands. Berkeley, CA: New Riders. This book provides a 17-step process for a radical differentiation. The author states that the world is constantly changing. Therefore, to succeed we need to be different and identify areas of opportunities.
Nielsen, S., & Christensen, P. (2014). The wicked problem of Design Management: Perspectives from the field of entrepreneurship. The Design Journal 17(4), 560-582. doi 10.2752/175630614X14 056185480113 In this article, the author proposes an alternative management perspective in the design management field through entrepreneurship. Entrepreneurship has the capacity to introduce values. The author also provides a framework of entrepreneurial design management as a platform for the design management field.
Nigam, A. (2014). What can design thinkers learn from entrepreneurs? Design Management Review, 25(3), 28-29. doi 10.1111/ drev.10291 The author talks about how designers and entrepreneurs emphasize bringing ideas to life and the importance of collaboration. He also addresses how they differ when it comes to following a process to do that. Lastly, he names what designers can learn from entrepreneurs.
Norman, D. A. (2013). The design of everyday things: Revised and expanded edition. New York, NY: Basic Books. This book details the importance of emotional drivers in design. It discusses how everyday objects play a specific role in our life, not only in products, but also in people as well. The author is well-known for his studies on emotions and design.
156
O’Grady, James K (2012). “Design is entrepreneurship Is design Is….” Design Management Review 23 (4): 82-88. doi 10.1111/j.1948-7169.2012.00215.x In this article, the author states his position about how business would be more resourceful if designers were taught as if they were entrepreneurs. This will help them to make more sense and to solve their issues more cleverly.
Vandekerckhove, W., & Dentchev, N. A. (2005). A network perspective on stakeholder management: Facilitating entrepreneurs in the discovery of opportunities. Journal of Business Ethics, 60(3), 221-232. doi: 10.1007/s10551-005 0130-7 In this article, the discovery stage is addressed as the core activity for entrepreneurs. The lack of knowledge can lead to missing opportunities or failures. It provides an approach in order to open a panorama for opportunities.
157
158
List of figures 159
Figure 1.
Young entrepreneur designers’ work at ShopSCAD. Author´s image......................Cover
Figure 2.
Photo of group meeting. Retrieved from: http://www.oininteractive.com..........................3
Figure 3.
Young entrepreneur designers’ work at ShopSCAD. Author´s image................................4
Figure 4.
Photo of gallery. Retrieved from: http://www.artfund.org/what-to-see/museums-andgalleries/parasol-unit..........................................................................................................................12
Figure 5.
Work in progress. Retrieved from: https://www.virgin.com/entrepreneur/7-steps-tobecoming-a-perfect-stay-at-home-entrepreneur......................................................................14
Figure 6.
Photo of Savannah’s Forsyth Park fountain. Retrieved from: http://www. covingtontravel.com/2015/02/the-art-of-southern-living-in-savannah/..............................16
Figure 7.
Photo of Foxy Loxy Café. Retrieved from: http://savannahnow.com/do/2013-03-21/ savannah-coffee-house-foxy-loxy-shoots-major-expansion.................................................18
Figure 8.
Photo of an art gallery. Retrieved from: http://creativeartsnetwork.co.uk/monograph/ article/featured-co-working-studio-space-weld.......................................................................20
Figure 9.
Photo of Satchel store. Author´s image......................................................................................24
Figure 10. SWOT Analysis of Set, Design and Bloom. Author´s image.................................................26 Figure 11.
2x2 Analysis of young entrepreneur designers in Savannah, GA. Author´s image....29
Figure 12. 2x2 Analysis of the entrepreneurial support panorama in Savannah, GA. Author´s image......................................................................................................................................................31 Figure 13. Photo of ShopSCAD. Author´s image..........................................................................................50 Figure 14. Photo of young entrepreneur designers work at ShopSCAD. Author´s image.............53 Figure 15. Research space map. Author´s image.........................................................................................57 Figure 16. Research matrix. Author´s image............................................................................................58-60 Figure 17. Research protocols examples. Author´s image........................................................................63 Figure 18. Photo of observation´s notes. Author´s image..........................................................................64 Figure 19. Photo of Shop the Fox. Author´s image......................................................................................66
160
Figure 20. Photo of research synthesis. Author´s image........................................................................68 Figure 21. Emily Rotenberg. Picture representing persona one. Retrieved from: http://www. youroralhealthhub.com/oral-health-on-the-job/....................................................................86 Figure 22. Photo of printing process. Retrieved from: https://www.khanacademy.org/partnercontent/MoMA/moma-printmaking/v/moma-relief-process...............................................87 Figure 23. Jose Portas. Picture representing persona two. Retrieved from: http://www. jesserogers.co/about/...................................................................................................................88 Figure 22. Photo of printing process. Retrieved from: https://www.khanacademy. org/partner-content/MoMA/moma-printmaking/v/moma-relief-proce ss..........................................................................................................................................................89 Figure 24. Julianne Johnson. Picture representing persona three. Retrieved from: http:// sussexliving.com/supporting-small-business/.......................................................................90 Figure 22. Photo of printing process. Retrieved from: https://www.khanacademy.org/partnercontent/MoMA/moma-printmaking/v/moma-relief-process...............................................91 Figure 25. Research At-a-glance map. Author´s image...........................................................................93 Figure 26. Design criteria map. Author´s image.........................................................................................113 Figure 27. Photo of young entrepreneur designer’s studio. Author´s image...................................115 Figure 28. Photo of flashcards concept. Author´s image.......................................................................120 Figure 29. Photo of workshop concept. Author´s image.......................................................................122 Figure 30. Photo of toolkit concept. Author´s image...............................................................................124 Figure 31. Photo of workshop for concept choosing. Author´s image..............................................126 Figure 30. Photo of toolkit concept. Author´s image...............................................................................130 Figure32. Emotional and Rational questions. Author’s image.............................................................133 Figure 33. Elements of the toolkit. Author’s image..................................................................................137 Figure 34. Objective and content page for the toolkit . Author’s image...........................................138 Figure 35. SWOT analysis page for the toolkit . Author’s image.........................................................138 161
Figure 36. Identity attributes page for the toolkit . Author’s image.......................................................139 Figure 37. Rational attributes questions page for the toolkit . Author’s image..................................139 Figure 38. Emotional attributes questions page for the the toolkit . Author’s image......................139 Figure 39. How to use it page for the toolkit. Author’s image.................................................................140 Figure 40. Steps page for the toolkit. Author’s image.................................................................................141 Figure 41. Recommendations and Conclusions page for the toolkit. Author’s image.....................141 Figure 42. Business Model Canvas for the toolkit. Author’s image.......................................................142 Figure A1. Timeline photo. Author’s image...................................................................................................166 Figure A2. Timeline for the project. Author’s image...................................................................................168 Figure B1. Research protocols examples. Author’s image.......................................................................170 Figure B2. Informed consent form introduction of the project. Author’s image................................172 Figure B3. Informed consent form to be signed form. Author’s image................................................173 Figure B4. Observation report template. Author’s image..........................................................................174 Figure B5. Interview questions template. Author’s image.........................................................................177 Figure C1. Informed consent signed forms examples. Author’s image................................................178 Figure C2. Bea’s signed consent form. Author’s image.............................................................................180 Figure C3. You’s signed consent form. Author’s image..............................................................................181 Figure C4. Benjamin’s signed consent form. Author’s image..................................................................182 Figure C5. Elva’s signed consent form. Author’s image............................................................................183 Figure C6. Claire’s signed consent form. Author’s image.........................................................................184 Figure C7. Jennifer’s signed consent form. Author’s image.....................................................................185 Figure C8. Elizabeth’s signed consent form. Author’s image..................................................................186
162
Figure C9. Victoria’s signed consent form. Author’s image......................................................................187 Figure D1. Working wall close-up. Author’s image......................................................................................188 Figure D2. Observation report template filled-up. Author’s image..........................................................191 Figure D3. Interview transcription. Author’s image...............................................................................192-95 Figure E1. Working wall overview. Author’s image.....................................................................................196 Figure E2. Work in progress. Author’s image................................................................................................198 Figure E3. Analyzing working wall. Author’s image....................................................................................199 Figure E4. Working wall call-outs. Author’s image.....................................................................................200 Figure E5. Post-it from Foxy Loxy Cafe on the working wall. Author’s image..................................202 Figure E6. Post-it from Satchel on the working wall. Author’s image..................................................203
163
164
APPENDICES 165
Figure A1. Timeline photo. Author’s image.
166
APPENDIX A Project Timeline
167
PROJECT TIMELINE Week 1 Planning Interview planning Setting Interviews
Research Research plan Secondary reseach Primary research
Data analysis Analysis Affinitize Insight finding
Idealization Concept development Prototyping Final concepts
Process book Design
Printing
Figure A2. Timeline for the project. Author’s image.
168
Week 2
Week 3
Week 4
Week 5
Week 4
Week 5
Week 6
Week 7
Week 8
Week 9
Week 10
169
Figure B1. Research protocols examples. Author’s image.
170
APPENDIX B Research Protocols
171
Informed Consent Form YOUNG ENTREPRENEUR DESIGNERS
The following information provides an introduction to field research that will be conducted in Savannah, GA, between 01/06/2016 to 03/16/2016 by Arturo Diaz-Rodriguez, Design Management graduate student at the Savannah College of Art and Design.
Researcher Bio
Arturo Diaz-Rodriguez is a graduate student of Design Management at Savannah College of Art and Design. With an undergraduate degree in Industrial Design, he mostly focuses on jewelry design and design research.
Purpose of the Study
The focus of this study is to understand the factors that make it difficult for young designers to start an entrepreneurial venture on their own and to discover how Design Management might be used to help them succeed.
Research Questions
His research will be guided by the following questions: ! ! !
How might we use Design Management principles to better serve young entrepreneur designers? What is the current state and future potential market for young entrepreneur designers? What skills do young entrepreneur designers need to get started?
Methodology
Data will be collected through: interviews and observations.
Data Management
Does data need to be anonymized? Y/N
Data will be stored via
Hard disk and on a personal phone.
Contact Information
This project it is being conducted through the Design Management department as a part of the Design Management M.A. Final Project 748 class at the Savannah College of Art and Design. For additional information please contact: Researcher Arturo Diaz-Rodriguez adiazr20@student.scad.edu 912.228.1932
Professor Tom Hardy thardy@scad.edu 404.202.5726
Figure B2. Informed consent form introduction of the project. Author’s image.
172
Informed Consent Form I voluntarily agree to participate in an interview/inquiry performed by students at the Savannah College of Art and Design. I understand that this interview/inquiry is being conducted by Arturo DiazRodriguez, in order to identify the following opportunities for design:
Use Design Management principles and techniques to encourage young designers to launch their own brand and succeed in the market place. I understand that the evaluation methods may include: 1. recorded (audio, video and/or photography) observations 2. my participation in a 30–60 minute interview I grant permission for the interview/inquiry to be recorded and transcribed, and to be used only by Arturo Diaz-Rodriguez for analysis of interview data. I grant permission for this data—generated from the above methods—to be used as a published document, if wanted. I understand that any identifiable information in regard to my name and/or company name will be removed from any material that is made available to those not directly involved in this study.
I understand that the information collected will be safely stored on a hard disk for a period of three years, after which the initial data will be deleted. Data management Does data need to be anonymized? Y/N
_________________________________ Printed Name
_________________________________ Signature
_______________________________________ Date
Figure B3. Informed consent form to be signed form. Author’s image.
173
AEIOU Observation Report YOUNG ENT Researcher: Date: Activities
Environments
Interactions
Figure B4. Observation report template. Author’s image.
174
TREPRENEUR DESIGNERS Location: Time Frame: Objects
Users
Printed 01/23/2016
175
176
Interview Questions Interviewee: ______________________________ Interview Date / Time: ______________________ Location: ________________________________
REMINDERS: Make a copy and tailor your interview. Be sure to record audio and AT LEAST take pictures of subject´s face and environment.
Young Entrepreneur Questions: 1. Tell me a little bit about yourself. 2. What is your definition of entrepreneur? 3. Why did you decide to become an entrepreneur? 4. Can you tell me about your work? –Can I see it? 5. How long have you been doing it? 6. What are the best parts of being an entrepreneur? 7. What challenges do you face as an entrepreneur? 8. What are the advantages/disadvantages of being an entrepreneur? 9. What community groups/members/events do you interact with on a regular basis? 10. What platforms do you use to sell and/or promote your work? 11. How do you define your market? 12. What do you think is important to consider when you decide to become an entrepreneur? Retailers & Shop Managers Questions: To be used depending on who are you interviewing. 1. Tell me a little bit about yourself and your profession. 2. How long have you been doing it? 3. How has business changed over the past five years? 4. What is your definition of entrepreneurs? 5. What is your opinion about young entrepreneur designers? 6. How do you find them, do they come and offer their work or do you look for them? 7. What makes you decide to place their work in your shop? 8. What do you think are the strengths and weaknesses of young entrepreneur designers? 9. How do you advertise these products? 10. What do you think is the connection between the end consumer and the designer? 11. What needs to be improved to better cover your needs as a retailer/seller? 12. What do you perceive as opportunities to be improved upon with young entrepreneur designers?
Figure B5. Interview questions template. Author’s image.
177
Figure C1. Informed consent signed forms examples. Author’s image.
178
APPENDIX c Signed Consent Forms
179
Figure C2. Bea’s signed consent form. Author’s image.
180
Figure C3. You’s signed consent form. Author’s image.
181
Figure C4. Benjamin’s signed consent form. Author’s image.
182
Figure C5. Elva’s signed consent form. Author’s image.
183
Figure C6. Claire’s signed consent form. Author’s image.
184
Figure C7. Jennifer’s signed consent form. Author’s image.
185
Figure C8. Elizabeth’s signed consent form. Author’s image.
186
Figure C9. Victoria’s signed consent form. Author’s image.
187
Figure D1. Working wall close-up. Author’s image.
188
APPENDIX D Transcripts & Observations
189
190
Figure D2. Observation report template filled-up. Author’s image.
191
Figure D3. Interview transcription. Author’s image.
192
Figure D3. Interview transcription. Author’s image.
193
Figure D3. Interview transcription. Author’s image.
194
Figure D3. Interview transcription. Author’s image.
195
Figure E1. Working wall overview. Author’s image.
196
APPENDIX E Working Wall
197
Figure E2. Work in progress. Author’s image.
198
Figure E3. Analyzing working wall. Author’s image.
199
Figure E4. Working wall call-outs. Author’s image.
200
201
Figure E5. Post-it notes from Foxy Loxy Cafe on the working wall. Author’s image.
202
Figure E6. Post-it notes from Satchel on the working wall. Author’s image.
203