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CRITICAL JUSTIFICATION 1 JAMIE SAMMAN DE1082
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HOW TO USE THIS BOOK A quick breakdown of how this book is structured
Chapter title page layout
CHAPTER NUMBER Chapter Title
Page layout
TITLE Description of activity and why it was done.
Reflection point.
Page notes Just a tad more in
formal
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Process icons
Finding
Reection point
What does this mean moving forward
Feedback icons
Matter Studio
Buttery Conservation
Wildlife Trusts
Peer group
Success/failure stamps
Sutton Seeds
Lecturer
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CONTENTS
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CHAPTER 1 Design and Conservation
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CHAPTER 2 Butterfly Conservation Background
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CHAPTER 3 What would the world be like without butterflies?
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CHAPTER 4 Findings and Directions
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CHAPTER 5 What can traditional coppicers do for butterfly conservation?
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CHAPTER 6 How can wildflower gardens be made better for butterflies?
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56
CHAPTER 7 How can methods of recording be improved?
68
CHAPTER 8 How can collaboration with farmers and land owners be made easier? 76
CHAPTER 9 Refined Brief and Feedback from Collaborators
82
CHAPTER 10 Look and Feel
88
CHAPTER 11 Brand Guidelines
98
CHAPTER 12 Next Steps and Major Issues
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INTRODUCTION “Since when did you love butterflies?”
Reflection
Findings
Matter feedback
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KICK START FROM MATTER During a placement at Matter, they stressed the importance of knowing clearly, early on, what you want to do for the final major project.
I needed to buck my ideas up. Fast.
Think about what interests you, but try to avoid projects where you might end up just designing for yourself.
Mabel’s input was much appreciated
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IN THE NEWS Using online news articles to browse stories. Among them was the news that the UK’s butterflies were in decline.
Because I couldn’t think of a decent proposal off the top of my head, I looked to the news for inspiration. Weather dramatically affects butterfly numbers in the short term.
BBC News, 26 MAR 2013
The Guardian, 23 JUL 2013
The Telegraph, 02 AUG 2013
BBC News, 14 OCT 2013
it’s not all doom an
d gloom!
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POTENTIAL PROJECTS 5 post card sized proposals were produced, for the Matter team to decide which was most interesting.
I was confident that a redesign of current baby changing products had the most promise. We think the access drinking water one has more scope than butterflies, because you could do an exciting rebrand of tap water.
SPORT IN SCHOOLS
BABY CHANGING
RUBBISH ON STREETS
Primary schools across the UK have recently received large grants from the Olympic initiative to fund better sport in schools. How can design use these funds as an opportunity to promote and encourage sporting activities?
How can the packaging of products like baby wipes and nappies be made easier to use when changing a baby?
What can be done to reduce the many bags of rubbish left on streets and in public areas?
DRINKING FOUNTAINS
BUTTERFLY DECLINE
A third of drinking fountains in the UK are currently in disrepair, so what can be done to make drinking water more accessible?
With the butterfly population continuing to fall in the UK, what can be done to protect a once common species?
The Matter team thought the 2 above had the most potential.
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INTRODUCTION Summary and Reflection
THE BRIEF
What can design do to help the diminishing numbers of UK butterflies and moths? I decided to choose butterflies because it seemed a relatively untouched in the world of industrial design.
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What does this mean moving forward
Dig around a bit and find out some background knowledge on the subject.
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CHAPTER 1 Design and Conservation
Reflection
Findings
Matter feedback
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INITIAL OBSERVATIONS Mind mapping initial thoughts about why people conserve wildlife and what stops people conserving wildlife, highlighting some interesting areas.
Though this was useful for expressing thoughts about the area, it was entirely subjective and I didn’t feel conďŹ dent in some of the assumptions I made.
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VISUAL EXPLORATION Exploring design and conservation using Pinterest by collecting various images that relate to the title.
This research was valuable in that it revealed examples that I decided to analyse in more detail. The majority of designs for wildlife conservation were either small scale (e.g. bird boxes) or apps.
This project wi t be a flat pack chair llmanode sustainable wood! of
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CASE STUDIES 4 case studies of design and conservation projects which identified how previous conservation based design projects could be improved.
I began to realise that many of the case studies were niche. It was time to look at the bigger picture. Most of your case studies seem to be about bee conservation, try not to get sucked into just bees.
SEED POD Aaron Colfer
NATURE’S PLAYGROUND National Trust
URBAN BEEHIVE Philips
THE HIVE
Plymouth University Students
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THE BIGGER PICTURE Using statistical evidence from the Butterfly Monitoring Scheme to answer the question: ‘why butterflies?’
These statistics provided good top line reasoning but not any insights for me to design from. Woodland deforestation is a major cause of butterfly and moth decline as it destroys habitats on a large scale.
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KEY QUESTIONS Constructing a set of questions to give the project some structure and validation, as they were written with help from Tim Nicholson of Natural England.
I felt that some of the more emotionally based questions had the most promise. Tim stated that conservation practices would be different between rural and urban areas, and suggested that catering for both would be difficult.
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TIME PLAN Planning out what needed to be explored and how it was going to be explored encouraged decision making about what looked promising.
I didn’t stick to this plan at all, particularly the prioritising and duration parts. I also realised that some of the questions were similar.
These are pretty darn similar
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Below I’ve highlighted the barrier (involving farmers specifically) which proved to be the biggest barrier which took longer than 1 week to overcome.
This proved to be a seriou
s problem
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CHAPTER 1 Summary and Reflection
This section involved a lot of desk research. Though this didn’t provide any worthy insights, it provided some useful background knowledge.
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What does this mean moving forward
The topline statistics about the decline of UK butterflies will be useful when introducing my project to anyone unfamiliar with it. I need to actually speak to people to gain some genuine insights.
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CHAPTER 2 Butterfly Conservation Background
Reflection
Findings
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CHRIS WINNICK Speaking to the chairman of the Butterfly Conservation Trust’s Cumbria branch about what conservation activities the trust does and why butterflies are important.
Chris helped validate my project in general by explaining why butterflies and moths are so important.
Butterflies are a great barometer for biodiversity in general. They are a source of joy and wonder not just for butterfly enthusiasts, but for children and gardeners across the UK.
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STEVE DOYLE Emailing Steve who works closely with farmers and developers to negotiate how land that is inhabited by butterflies is used.
I found Steve’s input very intellectually heavy (some of our chats became geography lessons) but useful.
Small scale introductions of butterflies have failed in the past. The best way to negotiate with farmers is to explain that they could receive a grant.
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DARRELL SMITH Talking to PhD student Darrell Smith, who has studied how woodland management affects butterflies in North West England at the University of Cumbria.
Darrell mentioned how wildlife corridors for butteries are often planned into urban areas. However, because I asked him quite rough questions, the answers he gave were vague.
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DAVID HARPLEY The conservation manager of the Cumbria Wildlife Trust suggested how best to take the project forward.
David believed that the only way to make a signiďŹ cant impact was to increase funding to current conservation practices involving woodland and agricultural management. Domestic habitats have nowhere near as much benefit to butterflies as woodland management (coppicing) does.
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SAM ANSELL Using the Forestry Commission website to research the work of coppicer Sam Ansell and how he is benefiting butterfly conservation.
Sam was hard to contact because he lives in the woods and doesn’t regularly use his phone or email. I could have tracked him down, but I was beginning to find less and less of a design opportunity in coppicing.
n to meet Be I didn’t gettted Fogle. Gu
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CHAPTER 2 Summary and Reflection
The knowledge I gained from speaking to experts was phenomenal. That said, a lot of them seemed to believe I was doing a geography project.
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What does this mean moving forward
The insights gained at this stage became the basic starting point for a number of the directions I proposed later. I must be sure to communicate the design aspect of everything I’m doing.
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CHAPTER 3 What would the world be like without butterflies?
Reflection
Findings
Butterfly Conservation Feedback
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TALKING HEADS VIDEO Asking the general public what the world would be like without butterflies and getting some emotional responses.
I had a crash course in film making, during which I learnt the need for a microphone. My sound was rubbish. One interviewee, Paula, recalled how she and her family would go on walks to spot butterflies. Paula also spoke about how she would love some sort of “box of flowers for butterflies.” Seems a bit wishy washy, how is this going to help the butterflies?
This chap was one of the people who genuinely didn’t give a monkeys aboonly ut butterflies. Target user?
Paula
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CHAPTER3 Summary and Reflection
Although the video exercise didn’t reveal any problems, it made it clear how strangely emotional people get about butterflies.
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What does this mean moving forward
Paula’s comments about going for butterfly walks and a flower box for butterflies will be kept in mind! I now felt ready to start making some decisions as to what to do next.
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CHAPTER 4 Findings and Directions
Reflection
Findings
Butterfly Conservation Feedback
Wildlife Trust Feedback
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MAPPING OUT FINDINGS A map of all insights uncovered from research revealed patterns in the findings that formed design opportunities.
This was the ďŹ rst time I had looked at all of my ďŹ ndings in one place, and it allowed me to spot what to do next.
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DIRECTIONS Turning the design opportunities into different directions showed how the project could take a number of varied routes.
I was most drawn to direction 2, due to the fact I could see the potential for some in-the-home design outcomes. We would never do any conservation activities in peoples’ homes or gardens. The impact is tiny.
Direction 4 could be a year’s worth of study in itself.
DIRECTION 1
DIRECTION 2
Can traditional coppicers help butterfly conservation?
What can be done with the specific food plants of each species?
DIRECTION 3
DIRECTION 4
How can methods of recording butterflies be improved?
Can collaboration with land owners and farmers be made as easy as possible?
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SWOT ANALYSES The directions were critiqued to choose which would be the best to pursue.
I was feeling increasingly uninspired by the coppicing direction, because I struggled to see any potential design outcomes. Coppicing is brilliant for creating a network of habitats perfect for butteries.
l year to spend my fina Do I really wanigts and bracken?! collecting tw
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CHAPTER 4 Summary and Reflection
I had mixed feelings about the recording and farming directions, but I had begun to lose interest in the coppice opportunity. Conversely, I was excited by the potential for butterfly conservation at home.
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What does this mean moving forward
Due to coppice being one of the most beneficial conservation activities, I didn’t discard it at this point. Instead, I looked further into it.
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CHAPTER 5 What can traditional coppicers do for butterfly conservation?
Reflection
Findings
Lecturer feedback
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SAM ANSELL’S WORK A visit to Vicarage Park Primary School where Sam’s coppice sculptures are on show highlighted ways for traditional coppicers to make their work more accessible.
Unfortunately, I went to Vicarage Park on a weekend, and I feel seeing how the children interact with Sam’s work could have been really interesting. Using coppice to create storytelling sculptures (e.g. Billy Goat’s Gruff story scene) is an excellent way of engaging children.
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COPPICE EXPERIMENTATION Weaving some coppice to get a better understanding of how coppicers work and the nature of their craft. The coppice weave made for a good presentation piece, but it didn’t really reveal any other insights into how coppicers work. Coppice weaving requires an understanding of the properties of different wood types. LA
URA
The design opportunities are pretty limited here. All it seems to be leading to is a campaign promoting what coppicers are already doing.
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hour after This broke aboutafan anship! tm hand in. Poor cr
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CHAPTER 5 Summary and Reflection
This section confirmed my assumption: coppicing is not worth pursuing. It was quickly evident that there was not enough of a design problem to solve.
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What this means going forward
Coppice was now discarded as a direction because it simply didn’t offer enough of a design opportunity to create something that would be interesting and that I’d enjoy creating. This meant I got to turn my attention to the direction which excited me most.
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CHAPTER 6 How can wildflower gardens be made better for butterflies?
Reflection
Findings
Lecturer feedback
Suttons Seeds feedback
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CUSTOMER JOURNEY MAP Mapping out the journey of someone wanting to plant wildflowers identified points at which butterfly friendly flowers could be promoted.
I realised the end of the journey map (people seeing butterflies on the flowers they’ve planted) leads directly into the other aspect of conservation I’m looking at: recording butterflies. Designs which cater for the whole gardening experience (from in store to planting) could be exciting.
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CUSTOMER EXPERIENCE RESEARCH Capturing various points in the journey through B&Q when purchasing wildflower seeds to get an idea of how seeds are currently displayed.
I never actually understood how customers felt about the in store experience. Interviews may have been more appropriate for this. The RHS is currently promoting bee friendly flowers in B&Q. Could this be done for butterflies?
made for a pretty That’s a lot of seeds, which play dis ging confusing and unenga
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CURRENT SEED PACKAGING RESEARCH Examining the details and structure of existing packs highlighted opportunities to create a more exciting and practical packaging design.
It may have been less constrained if I’d looked elsewhere for packaging inspiration as opposed to what seed packs are already out there. SIM
ON
You’re a designer, start thinking a bit more creatively!
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WILDFLOWER SEED PACKS IDEAS Using some of the points highlighted in the journey map and customer experience activities to have a focused idea generation session.
I may have been focusing too much on making slight changes to existing packs, which could have stifled my creativity. This is something we’ve been looking at, we’re currently undertaking a butterfly project similar to this.
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QUICK MOCK UPS OF IDEAS A few of the ideas were quickly mocked up in paper and card to visualise them in 3D and allow interaction with the design (e.g. opening of packaging).
I was able to explore physical interactions like tear strip openings. I also got a much better understanding of the material that the idea would be made out of.
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PLANTING TRAY BAG A bag with a card insert at its base that tears off and can be used as a planting tray, making it great for people who don’t have the space to grow lots of flowers.
The thinness of this paper meant the tear strip didn’t work as well as expected as it just ripped into the body of the bag, but the premise of it is interesting. SIM
ON
The bag is good, but stay away from flow wrap seed packaging. Go a bit wild.
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GREENHOUSE BAG An idea about how the bag could be used as a mini greenhouse in which to grow flowers, making the packaging feel less disposable.
As the pictures below suggest, polypropylene was the wrong material for this bag design, as the folds didn’t work properly due to the plastic’s rigidity.
It became clear that polypro p, glue and masking tape are not my too ls of choice
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CHAPTER 6 Summary and Reflection
In the back of my mind, I could hear the conservationists telling me that there are other, more effective, ways to protect butterflies than this. But I needed to start getting my hands dirty with some actual designing.
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What this means going forward
I thought there were definitely more pack archetypes to explore, so I intended to revisit this opportunity if I could justify pursuing it. Before all that, though, I turned my attention to another aspect of conservation: recording butterflies.
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CHAPTER 7 How can methods of recording be improved?
Reflection
Findings
Butterfly Conservation feedback
Matter feedback
Lecturer feedback
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ANALYSING RECORDING SHEETS Chris Winnick provided some existing recording methods which were useful when analysing the recording process.
At a glance, I thought the recording sheets were very scientific and probably quite inaccessible to the public eye. The reason this stuff looks so dull is because we need the results to be as scientifically accurate as possible. Having incorrect data about butterflies is worse than having no data at all.
A lesson in how to suck the fun out of butterflies: make a load of graphs
LOG SHEET
FLIGHT PERIOD INFO
BUTTERFLY TRAIL ROUTE MAP
IDENTIFICATION CHART
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RECORDING ROLE PLAY Reconstructing how someone might go about recording butterflies to gain a deeper understanding of the process of spotting and logging butterflies.
The only reason I knew which site to go on to find out monitoring information was because Chris told me about it. There are a number of points in the recording process that are not user friendly. These present opportunities to make it more enjoyable and engaging. There are some good insights, but the whole process looks totally boring to start with and not engaging!
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IDEAS GENERATION Generating fun product, graphic and user interface ideas that were focused around the points in the video meant they were well grounded.
The ideas I produced were well grounded, but many were fairly safe. Take it more conceptual, look at other similar family activities/games you could borrow from.
ALM OST
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IDEAS MATRIX A synthesis of all the various ideas, with similar ideas in groups, which could be sent to collaborators for feedback.
This ideas sheet took far too long to make. I should have spent less time scanning in post its and more time selecting a few ideas to send to collaborators. You’re very focused on existing methods and bettering them. Start using your imagination about how to encourage more butterflies.
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QUADRAT IDEAS Redesigning a quadrat, a tool that Chris Winnick said is used to count caterpillar eggs.
The vast majority of recorders do not and will not use them. Most recorders are of the Joe Public type who won’t be looking for eggs or vegetation types.
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NET IDEAS Butterflies flying past too fast and being hard to identify could be tackled by catching, observing and releasing them using a net.
Nets are more associated with and are mostly used by collectors who in my opinion should be hanged from the nearest tree. The vast majority of recorders do not and will not use them.
To avoid being hunted down by packs of angry conservationists, I shall not be designing a net.
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TRAIL FINDING AND STORYBOARD IDEAS Butterfly trails are ideal for recording butterflies on, but the routes are hard to find from the website. A storyboard could also make the recording method easier to understand.
Butterfly trails are something I’d simply love to do more of. There are problems though in that most of the best routes are on private land or have access problems.
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VIEWER IDEAS A magnifier/viewing tool could help when closely inspecting and identifying butterflies.
V
’ E O LEA RY
DA
The viewer design could be a really enjoyable children’s toy, but I’m unsure about how accurately it could record butterflies. At the moment it looks a bit mundane. With some better reasoning behind it it’ll be there. Think about where the caterpillars come in.
AL
MOST
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SPECIES IDENTIFICATION IDEAS These interventions aim to make identifying butterfly species accurately and quickly as easy as possible.
These are much more practical than the more scientific ideas. It would be good to include some examples of how to avoid common identification errors.
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CHAPTER 7 Summary and Reflection
It was great being able to generate ideas and have them validated or destroyed by the conservation trust. Matter were keen for me to move away from recording products entirely. They envisaged a less scientific approach.
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What this means going forward
Some of the selected ideas were quite safe, but I hope to develop them and push them further. Matter were right that some of the ideas were very scientific, but I won’t be moving away from methods of recording.
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CHAPTER 8 How can collaboration with farmers be made easier?
Reflection
Findings
Butterfly Conservation feedback
Lecturer feedback
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FARMING COLLABORATION TIMELINE Information from conservationist Steve Doyle about how to best negotiate with farmers and land owners was displayed as a timeline and presented opportunities for design interventions.
By getting the information off Steve and doing the brainstorm with Chris, I was able to get 2 opinions on the matter. A higher level stewardship scheme grant is often the most persuasive tool. Leaving some land next to hedgerows uncultivated could have benefits to both butterflies and farming practices. You are certainly right to look at it from how a farmer might see it.
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FARMING FLASH CARDS The points in the timeline were illustrated and grouped into 4 stages, which made thinking about ideas for each stage easier.
I made sure the flash cards were visually stimulating, and I felt the illustrations told a story well.
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BRAINSTORM WITH CHRIS WINNICK Getting Chris to think differently about the farming subject validated some of the ideas and revealed room for improvement in others.
I should have filmed this!
A grant alone isn’t enough, it needs to fit what the farmer currently does. Farmers need to be shown how much gap next to hedgerows to leave and how to maintain the gap.
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CHRIS’S DECISIONS Chris ranked the ideas in each section by order and importance, showing how they could work in a sequence.
Chris liked almost all the ideas, but he said there were a few that stood head and shoulders above the rest.
Chris said hi s one about pr meadows ditdn eser why it’s all al ’t make any sense,vsoing hay one down here that’s
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IDEAS TO BE TAKEN FORWARD Some of the ideas were discarded because trying to execute all of them in a service or campaign could confuse the message.
When communicating inforamtion to farmers, I would have to drive home the benefits of the grants.
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CHAPTER 8 Summary and Reflection
The key thing to reflect upon in this section is the mistake I made of not speaking to a farmer. Consequently, all of the ideas are what the trustees think may work.
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What this means going forward
The top priority for this area is now to contact and collaborate with a farmer. Without their input, the project will remain in ‘concept’ state and will lack real world application.
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CHAPTER 9 Refined Brief
Reflection
Findings
Lecturer feedback
Peer group feedback
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REFINED BRIEF The knowledge gained from the 3 areas could be combined in 1 system that would look at engaging gardeners, families and farmers with butterfly conservation.
I was still talking about my idea in terms of a system at this point, so the brief was vague. LA
URA
You need to contact your stakeholders now and start showing them stuff to test how it works. Especially the farmers!
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PEER GROUP INPUT Other members of the group know the project well so discussing the final solution with them was as useful as hearing from a lecturer.
I kept saying that the 3 areas linked together, but they weren’t as tightly knitted as they needed to be. You need to create a really tight link between these target audiences. Is there something you can do with point of sale?
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HOW IT ALL FITS TOGETHER This was a map of deliverables and showed how they worked in a sequence. It showed all the different elements that had to be designed.
As soon as I mapped out all the deliverables, I worried I might be spreading myself too thinly. LA
URA
You need to make some serious decisions about what you’re actually going to deliver at the end.
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CHAPTER 9 Summary and Reflection
At this point, it was unclear what was actually going to be designed as the final outcome. This was because the brief lacked clarity.
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What this means going forward
I identified the target audiences for each section of the brief, but I need to find real user cases to bring the proposal to life.
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CHAPTER 10 Look and Feel
Reflection
Findings
Matter Feedback
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‘SIMPLY VIBRANT’ Collecting images of product details which reflect the above phrase acted as sources of inspiration and began to create a brand aesthetic.
Upon reflection, this would have been a far more worthwhile exercise if I had clearly defined my target user before I did it. Your Look and Feel is vague. Narrow your audience, because is ‘Simply Vibrant’ really appropriate for a farmer?
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RULES OF COLOUR, MATERIAL, FINISH A discussion with a peer highlighted that the use of 1 vibrant colour per product could make for a more refined colour palette and unite the designs under a coherent identity. The CMF pyramid is going to get used in the coming weeks!
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‘ENGAGING VIBRANCE’ Creating a Look and Feel of products with a single colour added tighter aesthetic constraints and made it look more specific visually.
I decided to make a more human focused mood board (what Matter recommended) later in the project.
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CHAPTER 10 Reflection
Matter’s point that the user should inform the Look and Feel was spot on.
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What this means going forward
From now on, I will keep my target user at the forefront of my mind when making design choices, and not get sucked into just creating a big collection of nice looking images.
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CHAPTER 11 Brand Guidelines
Reflection
Findings
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BRAND MARK INSPIRATION AND TONE OF VOICE Existing brand marks provided some design cues to borrow, and a 1 line summary of the tone of voice of the project gave some design constraints.
I focused mainly on logos incorporating wildlife in a colourful way, to keep in line with my Look and Feel. Flat icons with block colour background are really easily adapted to work in various different sizes and shapes.
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BRAND MARK DEVELOPMENT A brand mark could be a valuable tool in uniting some of the design outcomes and creating visual cohesion.
I came to an idea for the brand mark early on and stuck with it. If I was doing a more brand centred project then the idea exploration would have been larger.
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LOGO DEVELOPMENT A logo combining the brand name and brand mark was developed otherwise the brand mark would just be a butterfly icon and would be incredibly hard to recognise.
Similarly, I decided on the brand name ‘Flutter’ quickly, because I knew there were more important things to be doing than thinking of names.
Boring as he
Too di
ll!
sney?
Too industrial
Looks like everything on Pinterest
BUTTERFL Y C ONSER VATION
Carry this forward
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LOGO REFINEMENT It seemed wise to make a quick decision about the logo (a small part of this project) and focus on the other more pressing matters at hand.
The thin, uppercase typefaces seemed the most suitable at first, but after experimenting with a slightly more childish lowercase font, the decision was made to use that logo.
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GRAPHIC GUIDELINES The graphical guidelines were created to ensure that any product, pack or graphic design fits into the brand’s appearance.
These were quite self indulgent and, in all honesty, I should have been out speaking to farmers instead of doing this.
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TONE OF VOICE DEVELOPMENT Collecting user-oriented images for 3 target audiences with 3 very different demographics, to create an appropriate tone of voice for each.
Trends and patterns in the pictures I collected were noticeable.
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TONE OF VOICE GUIDELINES Using keywords to group similar pictures together, 3 distinct tones of voice were established which were appropriate for the 3 target users.
Personality traits (e.g. humble, delightful) hinted at the personalities of the possible users.
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CHAPTER 11 Reflection
Matter suggested using the values of an existing brand such as Robinsons or Crayola and not creating my own guidelines. I decided to dismiss this, as it adds another layer of complexity to the project that may be unnecessary for the trust.
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What this means going forward
I will be designing the guidelines of my brand in a way that sets strict constraints, to make sure that any outcomes fit into the identity.
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CHAPTER 12 Next Steps and Major Issues
Reflection
Findings
Lecturer feedback
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FINAL REVISED BRIEF Defining the brief for the final major project to pin down exactly what needs to happen next.
I felt a sub-brand was a more appropriate name for the brief than a service redesign, but I will be careful not to create a set of tacky merchandise.
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AMBITION Creating a vision for the deliverables to be shown at the end of the project, which encouraged some decision making about what it should be.
I was keen to solidify some tangible designs at this point and to imagine how they would be delivered as a branded package of work. MARK
You could carry on as you are now, without any farming aspect to it, and it could be just a nice package of work.
That’s another way of saying it would have no integrity
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SYSTEM BLUEPRINT To get a better idea of how all the elements of the system work, some blueprints will be designed.
A better service blueprint than the one in the previous brief will be produced, that looks into the links between stakeholders in more detail.
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THE FORGOTTEN FARMERS The most challenging aspect of this project also happens to be the one that has been paid the least attention.
Throughout the past few months, I have been reluctant to get out and actually speak to a farmer about their experience with butterfly conservation. As a result, the proposal at the moment is based upon the experiences of conservationists when talking to farmers, and does not reflect the needs of the farmers.
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KEY ISSUES TO ADDRESS For this project to avoid being merchandise for kids, it needs to address a series of issues quickly.
I realised I need to act fast. The questions below are numbered in priority.
1
Why would a farmer care?
2
Is there something you can do to involve the farmers’ children and as a result their parents?
3
What scale of farmer is this for?
4
Can you link the hedgerow corridors with outdoor butterfly trails?
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TIME PLANNING Things will start to unravel if a comprehensive time plan is not followed.
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