VISC 520 Studio ︎︎︎ Project 1 |Project 2 | Project 3 | Resources | Drive
Download a complete copy of the syllabus here︎︎︎
DIAGRAM BY BRUCE MAU
Milton Glaser
Design is about change and this course introduces design, branding, and visualization strategies associated with creating positive change. Emphasis will be on methods of thinking, framing, and research that precede the creation of design, as well as the importance of visual and verbal presentation.
Students will complete three projects exploring how might a graphic designer visualize change; instigate/advocate for change; and practice as an agent of change.
Weeks 1–5
Visualize Change — Reflection Map
Weeks 6–10
Change Behavior (Shikake Design) — Help Someone Do Something
Weeks 11–16
Change Agent — Help an existing Brand Change Directions
COURSE PURPOSE
The purpose of this course is to prepare students for contemporary design practice, focusing on sophisticated form-giving, design process facilitation, and strategic design thinking. Students will learn to navigate unstructured situations, where problems are undefined, and develop communication design solutions that address unstated needs.
LEARNING OUTCOMES
At the conclusion of this course, students will be able to:
Design Thinking & Problem Solving: Formulate a meaningful ideation process based on research, content understanding, context, and audience. Identify, define, and solve complex communication problems through visual solutions.
Research & Ideation: Conduct thorough research to inform design decisions and iterate on concepts through multiple ideations. Document design processes and outcomes, providing evidence of successful problem-solving and creative thinking.
Critical Analysis & Decision-Making: Break down complex problems into manageable parts, identifying patterns and cause-effect relationships. Make informed design decisions by evaluating different perspectives, weighing pros and cons, and projecting likely outcomes.
Strategic Visualization: Utilize visualization techniques to propose and prototype solutions for evaluation. Develop compelling visual narratives that effectively communicate change
Communication & Presentation: Present design concepts effectively, articulating the relationship between form and content. Engage in critique sessions, providing and receiving constructive feedback to refine design outcomes.
DESCRIPTION OF THE COURSE
This is a core studio for seniors in Visual Communication Design, it will require your consistent attention & energy. Class time will be structured around:
• presentations on concepts, models, methods
• analysis and assessment of project work in the form of regularly scheduled group critiques, small-group and individual critique
• you will present your incremental progress toward completing final objectives frequently, so be prepared for class to receive feedback!
Generally Tuesdays will be days to introduce projects, concepts; present and discuss work as a group in critique. Thursdays will often be small group critiques and/or individual presentations of work.
All research and project-based work will be pursued and completed outside of classroom instruction hours. To successfully achieve the objectives of this course, you will need to dedicate a minimum of 15 additional hours a week to complete readings, research and projects.
The course activities will provide a platform to specifically explore the “Identify/Define,” “ Discover,” and “ Develop” phases of the designing process. By doing so, you will see the alignment of the “classic” design process that you have learned and practiced in your other design courses with what business people call the “planning process”. Through readings, discussions and 4-5 week projects you will experience the value of designing as a way to solve problems. In this class you will produce important evidence of your success as a creative problem solver. You will create important portfolio products that demonstrate your intellectual and technical creativity.
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COURSE METHODS
This course will provide opportunities for students to gain design knowledge and abilities through studio projects and critique presentations. Additionally, lectures, readings, demonstrations, slide presentations, class and group discussions, and personal student meetings will be used.
In order to maximize your learning and growth as a designer in this class, active engagement with the coursework is essential. Adopt a serious attitude and be willing to go beyond the assigned tasks. Challenge yourself and embrace the philosophy of learning through hands-on experience. Design is a competitive yet rewarding profession, and this course is designed with that mindset.Expectations include diligent effort every day, not just for grades, but for personal development and skill enhancement.
To truly benefit from this course, it is important to approach it with curiosity, self-initiative, and a dedicated investment of time. The work we will be doing can be time-consuming, occasionally frustrating, and involve iterative making. Trial and Error! Embrace the opportunity to immerse yourself, actively participate, share ideas, and explore new possibilities. If this approach does not resonate with you, it may be worth discussing alternative course options with your advisor.
Effective verbal communication skills are paramount in conveying your ideas to clients and fellow design team members. During critiques, students are expected to come prepared to present their concepts, explain how their design form supports the underlying concept, and describe the processbehind their ideas. Offering feedback to your peers is a privilege. Engaging in both giving and receiving feedback is beneficial. While you do not have to personally “like” someone else’s work, it is crucial toprovide insightful commentary in a respectful and constructive manner. During class, lectures, and demonstrations, it is required that you be working on things related to this class (not other classes), that you turn your phone to silent mode and refrain from distractions such as texting, social media, checking email....
A lack of professionalism can effectively lower your grade by one full letter grade.
— Attend class on time and stay throughout the whole class period
— Prepared for every class
— Participate in classroom discussions/crits
— Use class time to work on projects for this class
— Maintain a positive and open-minded attitude
— Demonstrate deliberate self-disciplined and timely work habits
— Progressively strive for and achieve the highest standards of quality
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ATTENDANCE
Students are required to attend class. Please be in class on time and remain for the entire period. Attendance will be taken at the beginning of each class period. Three late marks will equal one absence. A total of 3 absences will be allowed for any reason, including excused absences. On your 4th absence, your grade will drop by one full letter grade, or you may be asked to withdraw from the course. In the event of any absence, students are still responsible for obtaining all information and materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence.
In the event of any absence, students are still responsible for obtaining all information & materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence.
MEDICALLY-RELATED ABSENCES
Because of the fast-paced, project-based nature of studio curricula, absences as the result of a medical condition will count in the same way as non-medical absences. Excessive absence for any reason, as outlined in this policy, is irreparably detrimental to a student’s ability to succeed in our studio curriculum.
RELIGIOUS OBSERVATIONS
Students who plan to observe religious holidays should inform instructors of the day(s) they intend to be absent due to religious observance. You should inform the instructor before the absence. Doing so allows enough time for you and your professor to prepare accordingly.
Please see the University Excused Absences policy (USRR 2.2.1) for any additional information.
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GRADING
This course is a mandatory requirement listed under the major studies section on your degree check sheet. To progress to the next course in the sequence, it is necessary to achieve a grade of C (2.0) or higher.
Course Grade Criteria:
The final grade for the course will be determined by the collective assessment of the following:
- Project Work: 75%
- Project 1: Visualizing Change (25%)
- Project 2: Instigating Change (25%)
- Project 3: Advocating for Change (25%)
- Participation & Critiques (10%)
- Contribution to class discussions and critiques.
- Research & Documentation (15%)
- Quality and thoroughness of research and process documentation.
Project Grade Criteria:
The final grade for each project will be determined by the collective assessment of several key components: Participation, Process, Exploration,Refinement, Final Product, and Craft.
40% Process:
includes demonstrated process of idea development, research, type/image studies, concept development, quantity and quality of sketches. More than just one idea explored, prepared for class and critique participation. I will keep track of your process. A process book/pdf will be handed in with each project. The process book contains ALL your sketches, refinements, notes...from the project. Directions will be given specifically for each project. It should be organized, neat and professional.
50% Product:
comprehension of problem, originality of solution, appropriateness of solution, typography, visual invention, visual aesthetic, application/translation of concept, followed the assignment sheet or directives given in class.
10%
Craftsmanship: presentation of final, neatness, precision, technical proficiency, appropriate materials. Poor craft can reduce a project grade by 1 full grade.
Grading Scale:
Excellent (A+ 98–100%, A=94–97%, A– 90–93%)
Good (B+ 87–89%, B= 84–86%, B– 80–83%)
Average (C+ 77–79%, C= 74–76%, C– 70–73%)
Below Average (D+ 67–69%, D= 64–6 6%, D– 60–6 3%)
Failing (F 59% & below)
To achieve an “A” grade, it is crucial that your process, product, and participation surpass expectations.Merely completing the project requirements will not be sufficient to earn an “A.” It is not merely amatter of fulfilling basic criteria.Every one of you has the potential to earn an “A.” Strive for excellence consistently. Meeting theminimum expectations by being prepared and fulfilling assigned tasks corresponds to a “satisfactory”effort, which equates to a “C” grade. Remember, a “B” grade reflects Very Good!
Work (even when unfinished) must be displayed during critiques in order to receive a grade.
All projects and assignments are due on the date given and due at the beginning of class. Late projects will be penalized by lowering the project grade by one full letter grade. After three days, late projects will no longer be accepted.
You may be assigned an 'I' (Incomplete) grade if you are unable to complete some portion of the assigned coursework because of an unanticipated illness, accident, work-related responsibility, family hardship, or verified learning disability. An Incomplete grade is not intended to give you additional time to complete course assignments or extra credit unless there is indication that the specified circumstances prevented you from completing course assignments on time.
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ACADEMIC INTEGRITY
Academic misconduct will not be tolerated in this class. Academic misconduct by a student shall include, but not be limited to, disruption of classes; threatening an instructor or fellow student in an academic setting; giving or receiving of unauthorized aid on examinations, reports or other assignments; knowingly misrepresenting the source of any academic work; unauthorized changing of grades; unauthorized use of University approvals or forging of signatures; plagiarizing of another’s work; or otherwise acting dishonestly. Disruptive Behavior: The scope and content of the material included in this course are defined by the instructor in consultation with the responsible academic unit. While the orderly exchange of ideas, including questions and discussions prompted by lectures, discussion sessions and laboratories, is viewed as a normal part of the educational environment, the instructor has the right to limit the scope and duration of these interactions. Students who engage in disruptive behavior, including persistent refusal to observe boundaries defined by the instructor regarding inappropriate talking, discussions, and questions in the classroom or laboratory may be subject to discipline for non-academic misconduct for disruption of teaching or academic misconduct. https://policy.ku.edu/governance/USRR#art2sect7
All academic misconduct is reported to the Department Chair, the Dean’s office and to the University. Consequences may include course failure, departmental suspension, or expulsion from the university.
Plagiarism
It is mandatory that all work submitted for this class is original and created by you specifically for this semester and this class. Any instances where work is discovered to closely resemble material found online will be regarded as plagiarism. In such cases, appropriate sanctions will be implemented for all individuals involved in plagiarizing coursework. Plagiarism is a violation of the University Senate Rules and Regulations and will not be tolerated.Consequences may include failing the project, disqualification from the Viscom SophomoreReview, course failure, departmental suspension, or expulsion from the university. Plagiarism is reported to the Department Chair, the Dean’s office and to the University and is a form of academic misconduct. Important note about Artificial Intelligence: If AI is used to help create text or images in this project (or any project in any of your classes), it is imperative to be transparent and honest about its involvement. AI can be embraced and explored as a tool used to enhance the creative process. Maintaining mastery over the AI and making necessary alterations to all final deliverables is crucial. Failure to inform us that you are using AI at any point in the project will be considered plagiarism, and strict consequences will follow. As we navigate this learning process, we must remember to exercise responsible AI usage and ensure that AI serves as a valuable assistant rather than a substitute for creativity and originality.Together, we can leverage AI to augment our process. Honesty and integrity could lead to amore insightful and ethical exploration of AI’s potential in the creative domain.
Imagery
To maintain integrity and respect copyright laws, it is crucial that you either create your own imagery or use images from the Public Domain whenever possible. If you are unable to create your own visuals, it is important to give proper attribution and credit when utilizing images from external sources.Remember to include attribution for any images sourced from the Internet. An image online does not grant you automatic permission to use it—it is not a matter of “finders keepers.
ILLUSTRATION BY VISCOM ALUM MATT CHASE
Important note about Artificial Intelligence: If AI is used to help create text or images in this project (or any project in any of your classes), it is imperative to be transparent and honest about its involvement. AI can be embraced and explored as a tool used to enhance the creative process. Maintaining mastery over the AI and making necessary alterations to all final deliverables is crucial. Failure to inform us that you are using AI at any point in the project will be considered plagiarism, and strict consequences will follow. As we navigate this learning process, we must remember to exercise responsible AI usage and ensure that AI serves as a valuable assistant rather than a substitute for creativity and originality.
Together, we can leverage AI to augment our process. Honesty and integrity could lead to amore insightful and ethical exploration of AI’s potential in the creative domain.
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ACADEMIC SUCCESS
Please visit the Student Resources website (KU Academic Success) for a list of student resources and university policies.
The Student Access Center (SAC) coordinates academic accommodations and services for all eligible KU students with disabilities. If you have a disability for which you wish to request accommodations and have not contacted SAC, please do so as soon as possible. They are located in 22 Strong Hall and can be reached at 785-864-4064 (V/TTY). Information about their services can be found at access.ku.edu. Please contact me privately in regard to your needs in this course.
ArcD Student Hub
Weekly announcements, advising info, policies and resources, job postings, internships, scholarshipopportunities, upcoming electives, and study abroad trips, student organizations information andevents! www.arcd.ku.edu/current-students
Name and Pronouns
Everyone has the right to be referred to with their preferred name and pronouns. An opportunity toshare names and pronouns will be provided on the first day of class. If there are any changes duringthe semester, feel free to inform me. The instructor and students in this course are expected torespect each other’s identities, names, and pronouns. If someone makes a mistake or misgendersanother student, a brief apology and self-correction are appreciated. In case you feel that youridentities are not being respected, including by the instructor, please let me know about the issue.If you prefer not to share with me directly, you can consider reaching out to other resources like theCenter for Sexuality & Gender Diversity or the Office of Civil Rights civilrights@ku.edu and Title IX. Students who are in the process of updating their name at KU can refer to the Center for Sexuality &Gender Diversity’s “Name & Gender Marker Changes at KU” guide at sgd.ku.edu/name.
The Purpose of Critique
Critique is one of the most valuable parts of formal design education. It is also one of the most difficult aspects of the design school experience. It is a collaborative activity that takes quite a bit of time to learn — both in terms of how to give feedback, and how to accept feedback.
• How can you help your classmates be the best designer they can be?
• Please be collegial classmates and motivate each other to excellence.
• Critique is not a competition; it is an opportunity to learn and grow.
• Critique is a collaborative activity that requires time to learn how to give and accept feedback. Both givers and receivers of critique play a role in creating a positive and constructive environment.
• Pay attention to critiques of other students’ work as there is much to learn beyond your own projects.
• Understand the goals of the critique, whether it is exploring concepts, refining details,or celebrating project completion.
• Critiques should be honest but not cruel or disrespectful.
• The purpose of critique is to improve the work.
• A critique should leave you empowered to improve your work.
Connect with Your Academic Advisors
Real-time conversations with an academic advisor are the fastest path to assistance and support. Check out the website for more information orto set up an appointment.www.arcd.ku.edu/advising If you are having trouble connecting with your advisor then please see me for help!
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This syllabus is subject to further change or revision, as needed, to best realize the educational goals of the course. Necessary revisions will be announced in class. All project schedules are subject to change based on class progress.
VISC 520 Studio ︎︎︎ Project 1 | Schedule | Resources | Drive
What makes for meaningful work? For design legends Ray and Charles Eames, finding purpose at work entailed satisfying three audiences: the client, yourself, and society.In a hand-drawn doodle created for a 1969 exhibition at the Musée des Arts Décoratifs in Paris, the Eameses explained that the process behind every project they took on—be it a new chair for Herman Miller, dorm furniture for Sears, a design audit for the Indian government, or an exhibition for IBM. First, they found common ground with the client, and together agreed on solutions that would satisfy business goals and benefit the most number of people. — Anne Quito (from an article HERE)
It is in this area of overlapping interest and concern that the designer can work with
conviction and enthusiasm,” they wrote, pointing to the shaded section of the diagram. The diagram—which the Eameses hung in their studio following the Paris exhibition—also defined the types of clients the sought-after husband-and-wife designers engaged with.
What have you designed?
Why have you done it? What do you like to do?
What went well? What didn't?
What have you learned?
How would you design differently?
What do you want to learn more about?
What do you love about design? What don’t you love?
Project One: Your Reflection Diagram/Map
Our profession has been additive (designers have more responsibilities: the thinking and making in all its forms across all our media) and our curriculums have been too to keep up. So this assignment’s objective is to get you to slow down for a sec and reflect on your experiences and communicate your unique story of how your work represents your personal goals and our curricular goals.
The outcome of this 4-5 week assignment is that you will create a visualization that connects what you learned (taxonomy of learning) what you are supposed to know to prepare you for the profession (competencies) to what you have done. You will find the story that is interwoven between these diverse experiences. You will evaluate what you have learned and what is an interesting way to communicate it.
Steps:
1. Evaluate work based on bloom’s taxonomy 2. Evaluate work based on AIGA/NASAD competencies 3. Evaluate work based on a personal narrative 4. Create map that communicates all these relationships
Inspiration: (google any of these...)
Graph-based diagrams: these take a collection of items and relationships between them, andexpress them by giving each item a 2D position, while the relationships are expressed as connections between the items or overlaps between the items; examples of such techniques:
tree diagram network diagram cluster diagram
flowchart Euler diagram Venn diagram Existential graph
Chart-like diagram techniques: which display a relationship between two variables that take either discrete or a continuous ranges of values:
histogram bar chart pie chart function graph
scatter plot table/matrix exploded view
Tools to make Charts and Graphs: http://rawgraphs.io/
and DATA SETS from fivethirtyeight
FYI: Designers love maps and diagrams! Sarah Gibbons is a master at explaining them for UX situations and when to use them. Scott Reinhard makes beautiful maps. Nicholas Feltron diagrammed his life!
VISC 520 Studio ︎︎︎ Project 2 | Schedule | Resources | Drive
Behavior Change (Shikake) — Help Someone Do Something
Advertising Agency: Saatchi & Saatchi, Copenhagen, Denmark
Objective:
Students will explore the concept of Shikkake, a design technique that subtly influences behavior through indirect nudging rather than direct commands. They will identify a behavior that a friend(s) or family member(s) or group of people wishes to change and design a Shikkake that prompts (encourages) this behavior change.
Shikkake design is a way to change people's behavior by gently nudging them rather than giving direct instructions. It was introduced by Professor Naohiro Matsumura. The idea is to make small changes (or nudges) in the environment that encourage people to act in a certain way without them even realizing it. We will use the key points of shittake design in the interventions you create:
Subtle Influence & Positive Encouragement:
The design should encourage good behavior by making it attractive, fun, rewarding and/or easier to do, not by punishing bad behavior.
Contextual:
Shikkake designs are often part of the surroundings, influencing behavior through the environment (and an environment’s affordances) rather than shouting direct orders.
Concrete & Intuitive:
Good Shikkake designs are easy to understand and use clear cues to guide behavior.
Steps:
1. Research: Interview a friend or family member to identify a specific behavior they wish to change or observe an audience or phenomenon that isn’t inclusive or isn’t working. Understand the context and the specific behavior you want to change.
Examples:
- Develop a Reading Habit
- Eat Better
- Physical Activity or
Working Out - Recycling
- Water Conservation
- Consuming Less
- Finding Opportunities
to Volunteer - Reduce Littering
- Connect with Relatives
or Friends More - Drink Less
- Promoting Bike Usage
- Reduce Screen Time
- Get More Sleep
- Drink More Water
- Practice Gratitude
- Stay Off Phone While Driving
- Use Public Transit
- Reduce Single-Use Plastics
- Boost Attendance at a Club
or Organization's Event - Support Mental Health
- Reduce Energy Usage
- Remember to Floss
- Promote Work-Life Balance
- Make up with Someone
- Boost Creativity
- Encourage Continuous Learning/Empathy
- Promote Hand Washing
- Reducing Noise Pollution
- Encourage Local Shopping
- Promote Composting Practices
- Reduce Plastic Water Bottle Usage
- Encourage Wildlife Conservation or Leave No Trace Ethic
- Promote Safe Cycling Practices
2. User Analysis: Identify who the target audience is (e.g., children, office workers, park visitors) and what motivates or hinders their current behavior. What are the barriers? Why aren’t people already doing it?
Key deliverables: Rapid Design Thinking Template
3. Contextual Study: Analyze the physical or digital environment where the behavior occurs. Look for existing elements that can be leveraged or might pose challenges. Spot the opportunities: Where in people's patterns and habits is there an opportunity to change?
Environmental Factors: Consider factors like lighting, layout, existing signage, and user flow that can impact behavior. Consider choosing a communication channel that we have some shared understanding of. (ex. Ticket: Admission, seating, raffle etc. or Signage: identifying a room or directing a visitor somewhere or telling you not to do something etc. or Packaging: protecting a product, or communicating the benefits of something) and how you might subvert that schema and make it mean something new.
Key deliverables: Journey Map, template here with a list of A-E-I-O-U or
- Activities: The actions people perform to achieve a goal
- Environment: The area where activities take place, including the function of each space
- Interactions: The interactions between people and objects in their environment
- Objects: The key elements in a process, including the devices and objects in the environment
- Users: The people whose behaviors and processes are being observed
4. Generate Ideas/Brainstorming: Generate a range of ideas for subtle interventions that could influence the desired behavior. Think about visual, auditory, or tactile cues.
Key deliverables: Idea Sketches with Moodboards to further visualize/contextualize ideas
5. Develop Concepts: Develop a few promising ideas into more detailed concepts. Consider how each concept will subtly influence behavior without being intrusive. User Journey: Map out the user journey to understand how and when the Shikkake will interact with the user.
Key deliverables: More contextualized concept sketches with slide “deck” presentation
6. Design Prototypes: Create sketches or digital mock-ups of your concepts. These can be simple drawings or more detailed digital designs. Material Selection: Choose appropriate materials if the design is physical. Ensure they are durable, appealing, and suitable for the environment.
7. Test and Iterate: Test your prototypes with a small group of users. Observe how they interact with the Shikkake and gather feedback. Refinement: Based on feedback, refine your design to better achieve the desired behavior change.
8. Implement the Shikkake: Develop the final version of your Shikkake design, incorporating all the refinements. Installation: Install or implement the Shikkake in the target environment. Ensure it is placed correctly and integrates seamlessly into the surroundings. Feedback Collection: Collect feedback from users to understand their experience and any areas for improvement. Impact Assessment: Evaluate the effectiveness of the Shikkake in achieving the desired behavior change. Make adjustments if necessary.
Deliverables: Final presentation and reflection on the process: documentation of implementation & feedback
VISC 520 Studio | Project 1 | Schedule | Resources | Drive
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TUE AUG 27
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Inclass:
Class Intro, Expectations & Syllabus;
Set Up & Assign Project One: Reflection Map
Overview of Bloom’s Taxonomy & NASAD competencies.
As a class make a list of all your projects
Homework:
Using post-its start organizing your design projects with regards to Bloom’s Taxonomy, NASAD competencies;
Additionally, come up with some ideas for a personal narrative(s). Write these down to share next class.
Ways to start:
Card Sort: Make a post-it or notecard for each project and using color, symbols, or what pile you place it in...begin to identify how you could organize your projects based on Bloom’s Taxonomy and/or NASAD Competencies.
For a personal narrative think about using L.A.T.C.H. (Video Here) or organizing your projects based on questions like:
What was your enthusiasm level for the project?
What medium or mediums did your work in?
What was going on in the world at the time?
What was the process like in each project?
What were you listening to or watching at the time?
Who or what was inspiring you during the project?
What software did you use? or how big was your files?
What was your uniform at the time?...
Brainstorming session: What is a story you want to tell about design school?
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THU AUG 29
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Inclass:
Show your start. Bring in the big paper, notes, post-its, tape etc. Let’s organize in class, and discuss your ideas for a personal narrative and what unique data set you want to bring to this visualization.
Homework:
Design 3 poster concepts. Hierarchy is always a good idea.
What will be your main organizing principle? Blooms? NASAD? LATCH? or some other interesting personal spin on it?
Start sketching ideas for your reflection diagram/map. Experiment with different mapping techniques. Half size is ok. Produce these concepts however you feel comfortable. Hand sketches if tight will work, but you may want the ability to make shapes (copy & paste, etc.) on the computer.
Create a pdf presentation and use a mood board to help communicate your concepts and upload to this folder “THREE CONCEPTS PRESENTATION” on onedrive. The goal is to find a way to visualize your ideas to get feedback and see what it working.
ADS 320 Lecture Series Tonight: Colie Wertz (6pm in Budig)
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TUE SEPT 03
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NO CLASS — JEREMY AT ARTIST RESIDENCY
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THU SEPT 05
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Inclass:
Review 3 concepts on Zoom as a group
Homework:
Refine one direction based on feedback and bring in 2-3 versions of it to next class in color. Print one full-size, so you can get a sense of scale. Tile on the laser printer if you want.
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TUE SEPT 10
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Inclass:
Review poster full-size in class with Alex & Andrea.
Homework:
Refine one direction based on feedback.
Print full-size in color. Tile on the laser printer if you want.
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THU SEPT 12
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NO CLASS — JEREMY AT ARTIST RESIDENCY
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TUE SEPT 17
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Inclass:
Review poster full-size in class.
Homework:
Refinements based on feedback. Print full-size in color. Tile on the laser printer if you want. Final Reflection Poster Due next Tuesday September 24th. Bring in printed full-size and save as a pdf and post in the FINAL one drive folder.
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THU SEPT 19
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Set up and begin Project 2: Behavior Change
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TUE SEPT 24
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Final Reflection Poster Due. Bring in printed full-size and save as a pdf and post in the FINAL one drive folder.
VISC 520 Studio | Project 2 | Schedule | Resources | Drive
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THU SEP 19
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Inclass:
Assign Project Two: Behavior Change
Homework:
Interview atleast one friend or family member to identify a specific behavior they wish to change and observe an audience or phenomenon that could be better. Complete the Interview sheet and initial user analysis deliverables: Rapid Design Thinking Template and User Persona.
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THU SEP 26
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NO CLASS – Time to interview and do research on an audience or phenomenon.
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TUE OCT 01
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Print and present initial user analysis deliverables: Rapid Design Thinking Template and User Persona to the group.
Post it here: OCT_1_RESEARCH
Creative Hotlist
Homework:
Complete Step 3. Contextual Study with a Journey Map or Experience Map and listing AEIOU/Affordances. Make your map and print for next class.
AEIOU is a way to organize a situation into five core components: Activities, Environment, Interactions, Objects, and Users.
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THU OCT 03
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Individual meetings about research work-to-date.
Homework: Complete Step 4: Generate Ideas/Brainstorming: create a range of ideas for subtle interventions that could influence the desired behavior.
For next class bring in a slide deck of idea sketches with moodboards to further visualize/contextualize ideas. Sketches can be drawn or made digitally, but make sure they are presentable via a pdf on screen.
For those creating interventions that might need a name and simple brand identity then begin sketching what that might look like.
For those that will be providing information or “how to” you will need to collect that information and/or write that copy.
For all of you...you will need to communicate how this thing will exist in the world. What it will look like, feel like, talk like, dress like. Use tools like a moodboard to do that.
Use your maps, persona(s) and design thinking visualizations to help set up your ideas.
Post your slide decks here: PROJECT_2_BEHAVIOR_CHANGE
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TUE OCT 08
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NO CLASS – Jeremy is at a conference
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THU OCT 10
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Present idea sketches and moodboards to the group!
Homework:
Complete Step 5 and 6: Develop Concepts. Identify a 1-2 promising ideas and design into more detailed and refined concepts.
Design Prototypes: Create printed or digital mock-ups of your concepts.
Your prototypes for next class should reveal how the intervention will look, what it will be called, what the voice of the text is etc. If you are working in print, then bring in printed prototypes full-size. If you are working digitally then you should be able to present how the user will interact with this intervention.
User Journey: Using your existing journey map...map out the user journey to express how and when the Shikkake will interact with the user. This will give your intervention context.
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TUE OCT 15
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Fall Break
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THU OCT 17
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Present Prototypes 1.0 to the group. Bring your work in digital or print, whichever the final deliverable will be in.
Homework:
Refinements based on feedback.
Arts Center Internship
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TUE OCT 22
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Review Prototypes 2.0
Homework:
Refinements based on feedback.
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THU OCT 24
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Review Prototypes 3.0
Homework:
For next class begin Step 7. Test and Iterate: Test your prototypes with a small group of users. Observe how they interact with the Shikkake and gather feedback. Refinement: Based on feedback, refine your design to better achieve the desired behavior change.
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TUE OCT 29
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Small group critiques on final prototypes.
Homework:
Implement the Shikkake: Develop the final version of your Shikkake design, incorporating all the refinements. Installation: Install or implement the Shikkake in the target environment. Ensure it is placed correctly and integrates seamlessly into the surroundings.
Feedback Collection: Collect feedback from users to understand their experience and any areas for improvement.
Impact Assessment: Evaluate the effectiveness of the Shikkake in achieving the desired behavior change. Make adjustments if necessary.
Pumpkin Party at the Shellhorn’s house.
5:30pm. 1707 West 21st Terrace, Lawrence, KS 66046
Bring your own pumpkin and carving tools (we have a few if you can’t gather any)....and anything you want to drink. We will have multiple types of chili to eat, some snacks and will have prizes for best jack-o-lanterns! Costume optional and if you want to bring any other snacks or sides or desserts feel free.
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THU OCT 31
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Individual meeting on work to date.
Homework:
Determine final presentation strategy and how you will present your final work. Each student will create an 18x24 poster that sets up the problem, plus whatever else best expresses the intervention.
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TUE NOV 05
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Go Vote.
Optional classtime to test your interventions, print, production time etc.
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THU NOV 07
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Project 2 Due! Set up Project 3!