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Design and
Strategy
This major practical handbook bridges the gap between
strategy and design, presenting a step-by-step design
process with a strategic approach and extensive methods
for innovation, strategy development, design methodology
and problem solving. It is an effective guide to planning and
implementing design projects to ensure strategic anchoring
of the process and outcome.
Built around a six-part phase structure that represents
the design process, covering initial preparations and project
briefing, research and analysis, targets and strategy, concept
development, prototyping and modelling, production and
delivery, it is a must-have resource for professionals and
students. Readers can easily dip in and out of sections, using
the phase structure as a navigation tool. Unlike other books
on the market, Design and Strategy addresses the design
process from the perspective of both the company and the
designer. For businesses, it highlights the value of design as
a strategic tool for positioning, competition and innovation.
For the designer, it teaches how to create solutions that are
strategically anchored and deliver successful outcomes for
businesses, resulting in appreciative clients. It includes over
250 illustrations and diagrams, tables and text boxes showing
how to move through each stage with clear visualisation and
explanation.
This book encourages all designers in product design
and manufacturing, service design, communication design,
branding, and advertising, to think beyond shape and colour
to see design through the lens of strategy, process and
problem solving, and all business managers, innovators and
developers, to see the value in strategic design outcomes.
Wanda Grimsgaard is Professor of Visual Communication at
the University of South-Eastern Norway, USN Business School.
Design and
Strategy
A Step-by-Step Guide
Wanda
Grimsgaard
Cover image and book design: Lars Høie
Illustrations: Lars Høie and Wanda Grimsgaard
Typeset by: Bøk Oslo AS, Norway
First published 202 3
by Routledge
4 Park Square, Milton Park, Abingdon,
Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10
Routledge is an imprint of the Taylor & Francis
Group, an informa business
© 2023 Wanda Grimsgaard
The right of Wanda Grimsgaard to be ident ified as
author of this work has been assert ed in accord-
ance with sections 77 and 78 of t he Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be
reprinted or reproduced or utilised in any form
or by any elect ronic, mechanical, or other means,
now known or hereaf ter invented, including
photocopying and recording, or in any information
storage or retrieval system, without permission in
writing from t he publishers.
Trademark notice: Product or corporat e names
may be trademarks or registered trademarks, and
are used only for identification and explanat ion
without intent to infringe.
Translated and fully revised second edition from
the Norwegian language:
Design og St rategi by Wanda Grimsgaard
© Cappelen Damm Akademisk 2018
ISBN: 978-80-02-49055-3
British Library Cat aloguing-in-Publication Data
A cat alogue record for this book is available from
the British Library
Library of Congress Cat aloging-in-Publicat ion Data
A cat alog record has been requested for this book
ISBN: 978-1-032-12290-8 (hbk)
ISBN: 978-1-032-12291-5 (pbk)
ISBN: 978-1-003-22395-5 (ebk)
DOI: 10.4324/9781003223955
Type se t i n Ty pe
Mériva by Armin Brenner and Markus John
(New Letters)
Domaine Text by Kris Sowersby
(Klim Type Foundry)
This book has been prepared from camera-ready
copy provided by the author.
PREFACE
Preface by Bård Annweiler III
Preface by Wanda V
Acknowledgements VII
INTRODUCTION
How to use the book? VIII
What is design? X
PHASE INITIATION
P. –
Introduction
. Initial preparations
. Project brief
. Initial meeting
.. Before the meeting
.. During the meeting
.. After the meeting
.. Meeting administration
.
Initial workshop
..
Purpose of initial workshop
..
Workshop preparation
.. Workshop invitation
.. Workshop facilities
.. Workshop management
.. Workshop execution
.. Workshop report
.. Workshop process
. Project description
. Progress schedule
.
Price quotation
.. Price request
.. Price setup
.. Terms and conditions
.. Negotiation
.. Hourly rate
.
Contract
. Team collaboration
.. Control loop
.. Gameplan
.. Agile process management
PHASE INSIGHT
P. –
Introduction
. Understanding the company
.. Value creation
.. Decision making
.. Organisational culture
.. Organisational development
.. The company’s universe
. Situational study
.. Situational study process
.. PIPI workshop
.. Where are we – where
will we?
. Problem statement
.. Problem
.. Problem statement process
.. Problem definition
.. Problem statement
formulation
.. Problem statement
delimitation
.. Problem statement analysis
.. Problem statement
requirements
.. A good problem statement
.. Wicked problems
. Method selection
.. Qualitative method
.. Quantit ative method
.. Method triangulation
.. Research question
. Research process
.. Problem statement (Step )
.. Research design (Step )
.. Choice of method (Step )
.. Choice of units (Step )
.. Data collection (Step )
.. Data analysis and
discussion (Step )
.. Data interpretation (Step )
.. Report preparation (Step )
.
..
Research
Survey
.. Interview
.. Observation
.. Focus group
.. UX Research
.. Experiment
.. Scientific research
.. Artistic research
.. Design research
.
Analyses
..
Situational analysis
.. Internal analysis
.. Value chain analysis
..
Competitor analysis
..
Positioning analysis
..
Target group analysis
.. Brand analysis
..
Visual analysis
.. PESTLE analysis
.. SWOT analysis
.. Gap analysis
.
Mapping
.. Mapping methods
.. Moodboard
.. Storyboard
.. Customer journey
.. GIGA mapping
.
Testing and measuring
.. User testing
.. A/B testing
.. Funnel
.. Zero-point measurement
.. Why do we measure?
.. KPIs and metrics
.. Qualitative indicators
and metrics
.. Mental availability
measurements
.. Category entry points
PHASE STRATEGY
P. –
Introduction
.
..
..
..
..
..
..
..
.
..
..
..
..
..
..
..
..
.
..
..
..
..
..
..
..
..
..
.
..
..
..
..
..
..
..
..
..
.
..
..
Strategy development
Different approaches
Strategic management tool
TOP
Strategic workshop
Workshop process
Strategic workshop report
Workshop template
Overall strategy
Purpose
Mission
Business idea
Vision
Core values
Value proposition
The value pyramid
Strategic narrative
Goals and subgoals
Business goals
Big hairy goals
Development of goals
Goal hierarchy
Qual vs. quant goals
Measurable goals
Goal achievement
Sustainability goals
Goals for design project
Business strategy
Competitive strategy
Porter’s generic strategies
Sustainability strategy
Blue Ocean Strategy
Transient advantage
Distinctive asset-
building strategy
Agile strategy management
Is the right strategy chosen?
Strategy implementation
Business model
Business model canvas
Sustainable business model
.. Business model innovation
.. Lean start-up
. Market strategy
.. Markets
.. Marketing tasks
.. STP marketing strategy
.. Customers’ needs
.. The four Ps
.. The four Cs
.. Content marketing
.. Inbound marketing
.. Digital strategy
.
Brand strategy
..
Brand platform
.. Brand architecture
.. Brand positioning
.. Brand story
.. Brand identity
.. Brand assets
.. Brand name
.. Brand perspective
..
Brand refresh,
redesign, rebranding
. Communication strategy
..
Communication audit
.. Identifying the t arget group
.. Communication goals
.. Desired reputation
..
Communication platform
.. Communication elements
.. Communication
development
.. Channels and media
.. Communication
measurement
.
Design strategy
.. Design strategy compass
..
Design strategy development
.. Design strategy content
.. Design goal
.. Operational strategy
.. Design platform
.. Visual assets
.. Elements and surfaces
.. Design strategy vs.
design brief
PHASE DESIGN
P. –
Introduction
. Design brief
. Strategy><Design
.. Mapping as a link
.. Visualise strategy
.. Visualise name
.. Distinctive brand assets
.. Idea as a bridge
.. The fifth element
. Design methodology
.. Human-centred design
.. User-experience
.. Emotional design
.. Innovation
.. Iterative method
.. Divergence and convergence
.. Sprint
.. Scrum
.. Kanban
.. Lean and agile
.. Design thinking
.. Customer journey
.. Need-finding
.. Service blueprint
.. Co-design
.. Business design
.. Strategic design thinking
.. Systemic design
.. In retrospect
. Concept development
.. Foundation and framework
.. Creative problem solving
.. Brainstorming
.. Idea development
.. Conceptual directions
.. Verbalisation and
visualisation
.. Prototyping of ideas
.. Testing of ideas
.. Presentation of ideas
. Design development
.. The three-direction
principle
.. Design sketches
.. Concrete design
. Design elements
.. Shape
.. Colour
.. Texture
.. Space
. Composit ion
.. Perception
.. Principles of composition
.. Unity/whole
.. Focal point
.. Proportions
.. Balance
.. Rhythm
.
Surface and format
.. Surface
.. Format
..
Aspect ratios
.. The A series
..
The golden ratio
..
Golden rectangle
..
The golden spiral
.. Fibonacci
.. The rule of thirds
.
Identity development
.. The identity principles
.. The identity elements
.. Logo
..
Symbol
..
Identity colours
.. Typography
.. Distinctive assets
.. Identity management
.. Grid system
PHASE PRODUCTION
P. –
Introduction
. Implementation
.
Model
.. Dummy
..
Sketch model
..
..
..
..
..
..
..
.
..
..
..
..
..
..
..
..
..
.
..
..
..
..
..
..
..
..
..
.
..
..
..
..
..
..
..
..
..
.
.
..
..
..
..
Wireframe
Mockup
Prototype
Data model and simulation
Presentation model
Blueprint
Production model
Material selection
Materials
Functionality
Material insight
Material properties
Material life cycle
Product life cycle
Product life extension
Incorrect material selection
Sustainable materials
Paper and cartonboard
Paper
Paper construction
Paper production
Paper properties
Paper selection
Cartonboard
Green packaging
Packaging materials
Ecolabelling and certification
Colour management
Colour models
Colour gamut
Colour profiles
Select colour profile
Colour channels and
tone depth
Workflow
File types
PDF for printing
Colour reference systems
Production for digital
media
Production for printed
media
Press techniques
Printing methods
Raster
Four colours (CMYK)
.. Printing inks
.. Printing effects
. Installations and
constructions
. Quality assurance
PHASE MANAGEMENT
P. –
Introduction
. Intangible assets
. Legal protection
.. Copyright
.. Trademark
.. Domain name
..
Company name
.. Exclusive rights in
social media
.. Design rights
.. Patents
.. Counterfeiting
.. Marketing rights/
unfair competition
.
Design management
.
Design effect
.. Design ladder
.. The value of design
.. Design-driven company
.. Design impact awards
.. Visual impact
.. How to measure the
design effect?
.
Design manual
.. Purpose and target group
..
Foundation
.. Scope
.. Digital design manual
.. Contents
.. Unbranding
. Design templates
. Operations manual
. Further development
. Sustainable management
.. Sustainability development
.. Corporate sustainability
.. Circular economy
.. Net zero
.. The trendsetters
.. Greenwashing
.. The designer’s impact
.. High complexity
.. Sustainable font choice
References
Index
List of figures
List of tables
Planning tool
Bård Annweiler is one of t he
two co-founders of the
award-winning Norwegian
brand consult ancy Mission,
which opened in 2001.
Bård is the author of Point of
Purpose, an essential book
for modern leaders and global
brand strategists. Point of
Purpose introduces purpose
as the f undamental reason for
why today’s companies and
brands are successful in
business.
He has more than 20 years
of experience leading
branding projects from
strategy t o implementation
across sectors including
lifestyle, technology and
professional services.
Drawing on his experience
with clients, exist ing and
previous board posit ions,
he helps some of t he leading
Scandinavian businesses
reimagine how they int eract
with their cust omers and
employees. Bård is used as a
sounding board to ensure
long-term strategic
perspect ives.
He has a Master of Science in
Marketing from BI Norwegian
Business School, and has a
background of various
positions on the client side
before he t ransitioned to
consulting.
II
[start forord]
Preface
Bård Annweiler
Design is a highly strategic profession, a fact we
have all heard and experienced. So why has no
one written a book that unites the two topics,
design and strategy? There are tens of thousands
of books in the design field and numerous ones
about business and strategy, but not one of them
hit the sweet spot interlinking the two fields.
Until now, no author has filled the gap. As a
professor of visual communication and graphic
design, Wanda Grimsgaard has, over the past
ten years, diligently gathered world-class ideas,
theories and processes from the field of strategy
and adapted that logic into the field of design.
Her academic background, and her more than
years of experience as a practising designer,
have given her extraordinary expertise in both
areas. It is at this intersection between design
and strategy she focuses her writing.
Designers are visual problem solvers who
try to find patterns in business problems. There-
fore, strategy as a concept is essential to create
a framework to help solve and articulate design
issues. Experienced designers can make use of
this rare combination to make logic and intuition
come together. Designers will benefit significantly
from this book, as they now have an excellent
resource to use in their work.
Grimsgaard provides a timeless classic
that gathers all the tools and thinking that make
design strategic.
I first met Wanda Grimsgaard years ago,
when she was chair of the board at the Norwegian
organisation for visual communication – Grafill.
Her professional attitude made both her and her
work an outstanding resource for others in the
design community. Openness, curiosity, compas-
sion and trustworthiness are all characteristics
I would use to describe her – she is a true Scan-
dinavian design explorer.
This first handbook combining design and
strategy will soon be on the desk of every profes-
sional designer.
III
Wanda Grimsgaard is a pro-
fessor of visual communica-
tion at the Universit y of
South-Eastern Norway, USN
School of Business, and
author of the book Design and
Stategy, which was first pub-
lished in Norwegian in 2018.
Grimsgaard was educat ed at
the Oslo National Academy of
the Art s as a graphic
designer. Her background
consists of many years’ of
experience in the design
industry. The core business
has been development of
identities for companies,
products or services, with
the aim of increasing brand
awareness, competitiveness
and other value creat ion. Her
clients includes both st art-
ups, medium-sized companies
and large, well-known
branded businesses. Besides
working as an executive
designer, Wanda has always
been interested in sharing
knowledge, as a lect urer,
course leader and examiner
for various course organisers
and design schools.
In her teaching she is pas-
sionate about conveying to
designers and their clients
that every project should be
aligned with the company’s
goals and strategies, so t hat
the out come can contribute
to achieving t he company’s
goals. She finds it equally
inspiring and fun t o work
with strategy and design
which she sees as two sides
of the same coin.
Grimsgaard’s core area of
research is at t he intersec-
tion of strategy and design,
aiming to bridge t he two.
‘The challenge lies in int e-
grating strat egy in design,
and vice versa. This is where
the key t o success is found.
Herein lies the gold’, accord-
ing to Grimsgaard.
IV
[start forord]
Preface
Wanda Grimsgaard
My father, Wilhelm Lefevre Grimsgaard, made
his career in advertising, and he taught me early
on how to use what he called a work platform,
which in reality was a strategic platform. That is
how I started working strategically, without being
aware that’s what I was doing. After a few years of
practice in a design agency I experienc ed a great
strategic ‘aha’ moment when one of our market-
ing consultants organised a strategic workshop
with one of our clients. I then thought, ‘I can do
this, too.’ This was the beginning of a number
of strategic design processes and an exciting
professional development, which has led me to
write this book on design and strategy. A trig-
gering factor was my need to share knowledge,
something I have been doing ever since I held
my first Mac course in the late s. I was then
an experienced Mac user as I bought their very
first model back in . So, design and teaching
became my thing besides running a design busi-
ness for many years, until I was appointed a full
professor and went all in.
Teaching is a great responsibility that con-
stantly requires acquiring new knowledge. As
time went by, I realised that the more I learned,
the less I knew. It became essential to put the
knowledge into a system and gradually improve
it. I started writing comp endiums for the students
and organised them into a system of phases based
on the progress of the design process. This way,
I got the idea of writing a book on processes and
methods based on the framework of this phase
structure. Writing this book has been a challeng-
ing and interesting journey. I have interviewed
designers, strategists and social science experts,
dived into old and new literature, and read liter-
ally tons of research articles and online stuff.
Through this extensive research, I have refined
the phase structure in order to ensure that it can
work across design disciplines and have filled it
with professional content. It turned out to be a
demanding task that required a lot more effort
than I had ever imagined. Not least because over
the past decades there have been some major
changes in the way we work with design, which
have led people to perceive design differently.
Design thinking, iteration and user-experience
are among the many recent methods businesses
and designers adopt in order to create attractive
products and services. Large corporations see
the advantages of design thinking, not only for
creating visual solutions, but also as a key factor
in problem solving and business development.
Design and strategy are inextricably linked.
For a long time I have been aware that there is not
one single answer when it comes to design. I have
now also learned that there are no such thing as
a single solution when it comes to strategy. Both
strategy and design are major disciplines, and
within these fields there are numerous underlying
disciplines and executive professions. I have tried
to identify the basics of some of the different areas
you might encounter in a strategic design process.
My greatest challenge has been to limit myself, to
stay true to my initial concept, and remember that
the main process is the most important thing to
explain. At the same time, I have also dived a bit
below the surface, offering some special treats
throughout the book. Everything you will read
about in my book can be explored further in sp e-
cialised literature, articles and online. I leave it
to you, the reader, to dive deeper into the areas
you find most fascinating. I have not emphasised
explaining how to design a finished product for
a client, however, I have laid the groundwork for
it by showing the processes and methods that
can be used regardless of the specific task you
have to tackle. My choice of content in the differ-
ent phases is influenced by my background as a
graphic designer, where identity development and
branding are key. This knowledge will hopefully be
useful for most companies across various design
disciplines. The overall strategic design process
I have developed can be used in any project.
Having written this book I feel a tremen-
dous desire to know more, read more, and dis-
cover more. I feel like I have opened a treasure
chest full of knowledge, processes and methods.
Many will recognise traditional methods, some
will recognise new ones, and yet others will find
something missing. Some may also disagree with
something. If so, it’s actually a good thing because
by disagreeing, you become more aware of what
you personally think. Besides, some interesting
debates might ensue. I bring a voice in through
what I have included in the book , and through the
way I have defined the strategic design process.
V
Alexander Fjelldal
Alf Bendixen
Alina Wheeler
Anders Tangerud
Anette Brekke-Bjørkedal
Anine Heitun
Anita Grimsgaard Loe
Anna Tokle Amundsen
Anne Cecilie Hopstock
Anne Holter
Annie Myhre
Arild Tofting
Arne Simonsen
Ashley Booth
Audun Farbrot
Bård Annweiler
Benedicte Wildhagen
Birger Opstad
Birger Sevaldson
Birgitt e Appelong
Birgitt e Hvidsten
Bjørn Rybakken
Brit a Bergsnov Hansen
Camilla Mart inussen
Carl Gürgens
Carl Tørris Chirstensen
Cathrine Røsseland
Dag Einar Thorsen
Eirik Faukland
Eivind Arnstein Johansen
Eivind Eide
Elisabeth Holmberg
Elise Kaspartu
Endre Berentzen
Erik Bakkelund
Espen Johansen
Frode Helland
Geir Skomsøy
Gillian Warner-Søderholm
Grace Harrison
Henning Karlesen
Henning Rekdal Nielsen
Henriette Scharning
Hilde Honerud
Hølje Tefre
Ina Brantenberg
Inger Renate Moldskred Stie
Ingunn Elvekrok
Inki Annweiler
Jacob Rørvik
Jakob Thyness
Jan Henrik Wold
Jannicke Øiaas
Jon Hovland Honerud
Jonas Aakre
Jonas Fredin
Jonathan Romm
Kai Victor Myrnes-Hansen
Kaj Clausen
Katrine Malmer-Høvik
Kjell Reenskaug
Lars Christian Gamborg
Lars Høie
Lars Olsen
Leif Friman Anisdahl
Linda Lien
Lise Feirud
Malene Grimsgaard Loe
Mathias Haddal Hovet
Matt hew Shobbrook
Morten Throndsen
Nicholas Hermier
Nils Jørgen Gunderesen
Nina Furu
Nina Lysbakken
Øivind A. Grimsgaard Loe
Ole Lund
Øyvin Rannem
Per Farst ad
Rachel Cooper
Rory McGrath
Rune Døli
Sidsel Lie
Simon Manchipp
Skule Storheill
Sophie Moss Kravik
Steinar Killi
Susann Vatnedal
Søren Obed Madsen
Thea Ørneseide
Theo Sikkes
Thomas Hvammen Nicholson
Thomas Lewe
Tom Tysbo
Tone Bergan
Tor Paulson
Tora Aasen
Torbjørn Sitre
Tore H Wiik
Torunn Mehus
Ulf Winther
Wegard Kyoo Bergli
VI
Acknowledgements
Perpetual gratitude
I send some grateful thoughts to my father
Wilhelm Lefevre Grimsgaard (–). His last
message to me was: ‘Remember to work strategi-
cally with design’. And, to my beloved children,
Øivind, Anita, and Malene Grimsgaard Loe, for
encouraging me ‘Mom, be brave think large’.
And, a huge gratitude to my man in love and life:
Audun Farbrot: ‘Every word you write brings you
closer to the target.’ My deepest thanks to Grace
Harrison at Routledge who saw the potential in
the Norwegian st edition of this book and wanted
to bring it out into the world.
Updating this book for an international
audience has been a bit of a job. I have been
fortunate to have many professional people
around me who have contributed, first with the
Norwegian edition of the book and now with the
English edition. Several people have followed
me closely either throughout the whole process
or during part of it. Others have lined up for
interviews and talks, read and commented on
scripts, shared their processes and methods
with me and contributed generously with their
knowledge. Special thanks to: Lars Høie (book
designer), Inki and Bård Annweiler and their
team at Mission AS (my editorial team), Susann
Vatnedal, and her colleagues at Bøk Oslo AS (text
and design editing), Nicholas Hermier, and his
team at Languages Power International (transla-
tion) and Gillian Warner-Søderholm, at the Uni-
versity of South-Eastern-Norway, USN Business
School, for generous support.
VII
Design
Init iation Insig ht St rategy Design Production Management
Init iation Init iation
How to use the book?
The book you are holding presents a wide range of processes and meth-
ods for strategic development of design. The key concept is a phase
system that represents a complete strategic design process.
1 2 3 4 5 6
Init iation Insight Str ategy Design Production Management
Fig. . Phase structure
The phase system is displayed on the right side of the book, as a naviga-
tion structure, so you always know where you are in the process. The
book is first and foremost a handbook. It works across digital and manual
platforms. You should use it as a tool in the planning and development
of design projects and pick out what you need at any given moment. For
this reason, the different phases and underlying steps are presented
as independent units. Many of the topics, methods and models in the
book are available online and in the source literature, if you decide to
dig deeper. Figures . and . show the six main phases: initiation,
insight, strategy, design, production and management. Figure . shows
examples of how underlying levels appear in the navigational structure
and how to navigate.
Fig. . Linear and circular
First and second levels: The navigation structure consists of four levels.
Table . shows an overview of the first and second levels. Navigating
around these levels and picking out what is relevant for different assign-
ments is easy for an experienced designer. A design student might find
it overwhelming at first. They might benefit from a lecturer or tutor
breaking down the content and putting it in context with various tasks
and other literature. If you learn to understand the phase structure
and its logic, it will be much easier to navigate. The emphasis of the
different phases will vary depending on the type of project in question.
For example, in one project it may be necessary to work per cent with
strategy and per cent with visual design, while in another project
it may be the opposite. The names and order of the phases can be
changed as needed.
Fig. . These phases are also
the main phases of a st rategic
design process. The process is
presented here linearly, but
also works circularly.
© Grimsgaard, W. (2018)
Fig. . The figure shows the
design process as a linear
phase st ructure and the way
we navigate back and for th
and circularly in t he phases.
The init iation of a design pro-
ject can t ake place in phase 1
or phase 4, depending on t he
need for insight and strat egy
development.
© Grimsgaard, W. (2018)
Tips for the reader
Phases 5 and 6 are no less
import ant because they
come last . You might as well
st art reading here. Why not
start wit h 6.9 Sustainable
management?
VIII
Level Initiation
Insight
Strategy
Design
Production
Management
Level
.
.
Initiation .
Initial preparations .
Design
Design brief
. Project brief . Strategy><Design
. Initial meeting .
Design methodology
. Initial workshop . Concept development
. Project description . Design development
. Progress schedule . Design element s
. Price quotation . Composition
. Contract . Surface and format
. Team collaboration . Identity development
. Insight . Production
.
Understanding the company . Implementation
. Situational study . Model
. Problem statement . Material select ion
. Method select ion . Paper and cartonboard
. Research process . Colour management
. Research . Production for digital
. Analyses . Production for print
. Mapping . Installations and
. Testing and measuring const ructions
. Quality assurance
.
.
Strategy
Strategy development . Management
. Overall strategy . Intangible assets
. Goals and subgoals . Legal protection
. Business strategy . Design management
. Business model .
Design effect
. Market strategy . Design manual
. Brand strategy . Design templates
. Communicat ion strategy . Operations manual
. Design strategy . Further development
. Sustainable
management
Table . The table shows t he
two first levels of the naviga-
tion s tructure. A planning t ool
with an overview of all the
phases can be found at the
back of t he book.
© Grimsgaard, W. (2018)
Table . First and second levels
Main charact ers in t he book:
There are three main characters in the book.
They are the designer and the company that the book is aimed at, and the
user, who is the object of their attention. The company is the design buyer.
IX
The term company is here used as a common term for both commercial
and non-profit organisations, as well as private and public. The designer is
the professional who carries out design assignments for the business. The
designer can be an individual designer, a design agency or another kind of
design company, regardless of design profession. The user refers to the
person or target group the company wants to reach with their products
and services, and whom the designer is aiming towards when creating
user-friendly and attractive solutions. The user is the most important
person. Without the user there will be no assignments and no design.
The Company The Designer
The User
Fig. . The main characters of the book
What is design?
Design is a positively charged word. To most people, it stands for aesthe-
tics, good shape, good function and identity. Therefore, there are many
who wish to own the word ‘design’ and use it in different contexts. As a
result, the design concept has a wide reach and might be perceived as
ambiguous. What a lot of people do not consider is that design is not
necessarily something visual or physical. Design is first and foremost
about problem solving, and the result can be just as much an idea for
improving a service as a tangible visual result. ‘The designer ’s strength is
solving problems, and is not primarily about shape- and colour, but about
putting things in system so that new opportunities arise.’ (Sevaldson, ).
This means considering the problem-solving process as design. In other
words, design is not just the end result, it is the entire process as shown in
Figure .. At the same time, design is a way of thinking, which is referred
to as design thinking and systems thinking (.. Design thinking, ..
Systemic design), ways of thinking and working that can help solve complex
problems, lead to innovation. Back to: What is design? A goo d way to view
design is found in Bason () according to which design can be seen as:
) a plan for achieving a p articular result or change, including graphics,
products, services and systems.
) a practice with a particular set of approaches, methods, tools and
processes for creating such plans.
) a certain way of reasoning, underlying, or guiding these processes.
This is equally relevant for all design disciplines and for assignments
across both public and private sectors. The design profession is particu-
larly sensitive to the changes around us and adapts quickly to them in
order to meet new requirements. Designers nowadays face increasingly
demanding challenges in a technologically complex world with ever-
increasing societal and global challenges.
Fig. . The figure shows the
book’s main charact ers: the
company (the design buyer),
the designer (the profe ssional)
and the user (t he customer).
© Grimsgaard, W. (2018)
Fig. . The figure shows
str ategic design at t he core of
tackling business challenges in
the company’s int ernal and
external environment.
© Grimsgaard, W. (2018)
Fig. . The figure illustrat es
where st rategic design is
located be tween the ext remes
of art and business. Which is
close to business. The direc-
tion o f art is of ten more indi-
vidual, while t he direct ion of
business operat ions is more
client-driven.
© Grimsgaard, W. (2018)
Fig. . The figure illustrat es
how the navigat ion structure
works.
© Grimsgaard, W. (2018)
Christian Bason: Leading
Public Design, How Managers
Engage with Design t o Trans-
form Public Governance
().
X
Inititation
.
Insight
Strategy
Design
Product ion
Management
. Understanding the
company
Situational study
.
.
.
.
.
.
..
..
..
..
. Problem statement
Method select ion
Research process
Research
Analyses
Mapping
Testing and measuring
Problem
Problem statement
process
Problem definit ion
Problem statement
formulat ion
.. Problem statement
delimit ation
.. Problem statement
analysis
.. Problem statement
requirements
.. A good problem
st atement
.. Wicked problems
Step : Making a problem
st atement
Fig. . Navigation
Even in small projects, the complexity can be high, and it is becoming
increasingly important for the designer to use systematic and strategic
tools and methods. (Phase Design: Introduction, p. ).
Design is a large multidisciplinary area that oscillates between free
art on the one hand and business operations on the other. Between the
extremes there is a range of disciplines that can be used to produce
creative and target-oriented solutions. The designers going for free art
are more likely to create solutions based on intuition and gut feeling than
business-oriented designers. The latter will be more concerned with
creating strategic and targeted solutions. This is a general observation
and a lot of interesting things can come into being in the meeting between
the extremes. Read more about design in the introduction of phase .
Strategic design
Internal The company Ext ernal
Fig. . At the core
Strategic design development: Strategic development of design can be
explained as a way of developing and using design that is rooted in the
company’s overall strategy, and which should help the company build its
position and reputation, achieve its goals and strengthen its competitive-
ness or other value creation. Strategic use of design can also be driven
by a clear design ambition, i.e. the design is part of the company’s overall
strategy. In strategic design, the design process has aims that go beyond
the form and colour of a profile or a product. Strategic design development
means solving problems and opening new opportunities that lead to creat-
ing value for the business. It can be anything from organisational changes
to developing new business concepts. Strategic design links design and
marketing together and brings design into the company’s management
and boardroom as part of corporate development and branding. Strategic
design development requires the right methods for insight, analysis and
strategy development, and the ability to incorporate this strategy into
the design process and thus complete a task or solve a problem.
Art Design Business
Illustration Strategic design
Fig. . Strategic design
Strategy><Design: For a strategic designer, all design projects will start
by defining the problem, and in the further work will be about solving it
in a creative and innovative way through a strategic approach. Central
to this work is the use of processes and methods for insight, analysis,
strategy, idea development and design work, and the conscious focus on
the user. The challenge is to link strategy and design, where the success
factor lies in the intersection between analytical and creative thinking
XI
(. StrategyDesign). There is no one-size-fits-all solution in a design
project; the possibilities are endless. Strong insight, goal setting and plan
-
ning, combined with solid idea processes, user insight and repeate d test-
ing and evaluation are all a prerequisite for success. Sustainability goals
should be set and met (.. Sustainability goals). See the planning tool
on page Planning tool as well as Table . Example of use of phases.
Package design Corporate identity
1. Initiation 1. Initiation
1.2 Project brief 1.2 Project brief
1.3 Initial meeting 1.3 Initial meeting
1.5 Project description 1.5 Project description
1.6 Progress schedule 1.6 Progress schedule
1.7 Price quotation 1.7 Price quotation
1.8 Contract 1.8 Contract
2. Insight 2. Insight
2.2 Situational study
2.2.3 Where are we – where will we?
2.3 Problem statement 2.3 Problem st atement
2.7.5 Positioning analysis 2.7.1 Situational analysis
2.7.6 Target group analysis 2.7.4 Competitor analysis
2.7.8 Visual analysis 2.7.5 Positioning analysis
2.7.10 SWOT analysis
3. Strat egy 2.9.8 Mental availability
3.5.2 Sust ainable business model
measurements
3.7 Brand strategy
3.8.5 Communication platform 3. St rategy
3.9 Design strategy 3.1.3 Top 5
3.2 Overall strategy
4. Design 3.3 Goals and subgoals
4.1 Design brief 3.4.6 Distinctive asset-building
4.4 Concept development strategy
4.5 Design development 3.7.5 Brand identity
4.7 Composition
4.8 Surface and format 4. Design
4.9 Identity development 4.1 Design brief
4.4 Concept development
5. Production 4.5 Design development
5.1 Implementation 4.9 Identity development
5.3 Material selection
5.4.9 Ecolabelling and cer tificat ion
5. Production
5.7 Production for printed media
5.1 Implementation
5.9 Quality assurance
6. Management
6.2 Legal prot ection 6. Management
6.9 Sustainable management 6.2 Legal protection
6.3 Design management
6.5 Design manual
Table . Example of use of phases
Table . The table shows
examples of planning from two
different project s based on the
book’s phase st ructure. See
Planning tool at the back of
the book.
© Grimsgaard, W. (2018)
Tips for the designer
Check out the planning tool at
the back of the book
Eight interviews from
the research phase of
the Norwegian version
of this book (2017) are
available online. Profes-
sionals from different
design disciplines t alk
about their processes
and met hods. They also
share their thoughts and
reflections on design,
and describe the oppor-
tunities and changes
they see in the future.
The interviewees are
Mathias Haddal Hovet
(Heydays), Torbjørn
Sitre (Sopra Steria),
Henning Rekdal Nielsen
(EGGS design), Kjell
Reenskaug (Cognizant),
Nina Lysbakken (Univer-
sity of South-Eastern
Norway), Carl Gürgens
(Bold Scandinavia),
graphic designer Lars
Høie and interior archi-
tect Birgitte Appelong.
The interviews are avail-
able at designandst rat-
egy.co.uk.
XII
[start kap]
. Initial preparations
. Project brief
. Initial meeting
.. Before the meeting
.. During the meeting
.. After the meeting
.. Meeting administration
. Initial workshop
.. Purpose of initial workshop
.. Workshop preparation
.. Workshop invitation
.. Workshop facilities
.. Workshop management
.. Workshop execution
.. Workshop report
.. Workshop process
. Project description
. Progress schedule
. Price quotation
.. Price request
.. Price setup
.. Terms and conditions
.. Negotiation
.. Hourly rate
. Contract
. Team collaboration
.. Control loop
.. Gameplan
.. Agile process management
Initiation
Initiation is the first of six phases. It is about
ensuring a good project start and facilitating a
positive and predictable collaboration between
the client and the designer. It involves clari-
fying which task is to be solved and defining
clear frameworks and conditions. Meetings or
workshops help start the dialogue, discuss the
project, and develop a basis for quotation and
contract. For the designer, this means making a
good sales pitch and asserting oneself as a pro-
fessional and competent partner. For the client,
it involves choosing a designer who has all the
necessary qualifications and the right mindset.
Initiating a project is always about setting up
a competent team to complete the given task.
Everything that happens from the first contact between the client
and the designer until a contract is signed and work can begin, we call
the initiation phase. When initiating the project, the foundation for
the project’s content, scope and progress is laid. The qualifications
necessary to solve the task and all applicable conditions are also clari-
fied. In this phase, it can often be challenging to predict the scope of
the assignment and the competence needed. A strategic designer will
clarify which problem or need the assignment is to solve while ensuring
strategic alignment. If no goals or strategies are defined, it is natural
to start with them. If the assignment is to create a website, it might be
necessary to develop a communication strategy and a visual identity
before starting to design the website. A seemingly small assignment
may thus turn into a larger and more complex project than what the
client initially imagined. Multidisciplinary expertise might often be
necessary, especially in larger projects. Design agencies tend to have
a broad range of expertise in their staff, while individual designers can
connect with competent partners.
A project usually starts with the designer receiving a proje ct brief
from the client before or during their first meeting, referred to as the
initial meeting. The project and collaboration are discussed at this
meeting while also establishing a mutual understanding of what task
to solve. If the task is not sufficiently clarified at this meeting, it may
be helpful to conduct an initial workshop to clarify the company’s situ-
ation and needs. Based on the information that emerges, the designer
prepares a project description, a debriefing with suggestions for the
work process, progress, and budget. The parties sign a contract before
the project starts. If the project is clearly defined and aligned with the
company’s goal and strategy, project initiation can begin in Phase
with a design brief. If more insight is deemed necessary, in addition to
setting goals and developing strategies, the project starts in Phase
with a project brief, see Table .. (. Project brief, . Design brief, .
Initial meeting, . Initial workshop, . Situational study, . Problem
statement, . Team collaboration).
Initiation process
Project brief: The client’s description of the project.
Init ial meeting
: First meeting between the client and the designer.
Sales pitch
: The designer’s presentation of qualifications and
portfolio.
Workshop
: Initial workshop to clarify the assignment and establish
a targeted and strategic anchoring.
Project description
: The designer’s description of the task and
recommendation for work process.
Progress schedule: A plan for the project and deliverables within
the given time frame.
Price quot ation: The designer’s quote or estimate for the project.
Contract
: A signed agreement betwe en the designer and the client.
Collaboration: Establishing a project team and facilitating a good
collaboration within the team and with the client.
Tips for the client
How to choose the right
designer?
– Look for the right
qualifications.
– Look at value as well as
price.
– Look for a good mat ch.
Tips for the designer
Examine how the company
presents itself and its prod-
ucts or services. Visible
weaknesse s can be good
sales arguments, such as
the logo or websi te seems
outdat ed, the company’s
communication is not in
line wit h how their product
or service is experienced,
their service or product is
p
erceived as cumbersome
and not user-friendly, the
product packaging does not
seem environmental friendly,
that t he company’s behaviour
does not seem to be in line
with its identity, etc.
4
Terminology
Designer: Provider of design services, e.g. design agency or free-
lance designer.
Client: Purchaser of design services, e.g. a company or an organi-
sation.
Company
: A business, undertaking, enterprise, organisation, etc.
producing and offering goods or services. Here we use c ompany as
a term also for private or public, commercial or non-commercial,
as well as non-profit or NGOs.
Assignment: Allocation of a project.
Project: A project or task to be carried out for a client.
. Initial preparations
A business might be looking for a designer for a defi-
ned project, or the designer might seek contact to offer
their services. When the designer receives a request for
a new project, the initial preparations are crucial. First
and foremost, it is about presenting their services and
expertise to the company to prove that they have the
competence needed for the assignment. It’s an initial
sales situation.
When a designer gets a new project, from a regular or a new client, the
designer should regard this as an initial sales situation. The designer
can never take for granted that they ‘own’ the client. Competition is
fierce given the numerous enterprising players involved. Before you
know it, other designers have made their advances and shown some-
thing new and different that may be more tempting. As a designer,
you find yourself in a continuous competitive situation, where it is
about being perceptive, alert, and up to date at all times. It is often a
design buyer’s market, but the situation can also be reversed, where
a company has to pitch its way to a designer with whom they wish to
collaborate. Among other things, it can be a matter of presenting the
project so that the designer believes in it and wants to be part of it
under the defined terms.
Preparations
For the designer, an initial sale is about offering design services to the
company to help them achieve their short-term or long-term goals.
For commercial businesses, it can be a matter of standing out from
the crowd in the market to strengthen their position and increase
their competitiveness. For non-commercial organisations, it can be a
matter of getting across their message and service regardless of profit.
No matter who the designer is selling their services to, it is essential
to prepare well for the sales pitch. A good approach is to consider the
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
–
Preparations
–
Presentation
Further reading
It can be a good start to read
the chapters 2.1 Understand-
ing the company and 6.9
Sust ainable management .
5
company’s situation and visible problem areas. The designer’s goal
should be to offer something appealing and relevant to the company,
meeting their needs and qualification requirements. In order to do
this well, it is not enough for the designer to know all there is to know
about design. The designer must also know a bit about the business
area and how it works, and typical challenges. This will simplify the
conversation between the two and make it easier for the designer to
identify the needs of the business, which can lead to a project. It is an
excellent start to understand the company’s situation by examining
its website and social media presence. Gain knowledge of what they
do and how they present themselves and their products or services.
Try to track their values, attitudes, and measures to meet environ-
mental or societal challenges. Look for potential for improvement.
Furthermore, by examining the company’s financial performance, one
can determine whether they have a positive or negative development
in sales, indicating whether they are doing something right or vice
versa. It can also reveal whether they are creditworthy and able to
pay for the design services they order. Just as important as getting
to know the company in question, is taking a look at its competitors
and any news in the relevant business area. This will provide a more
comprehensive picture of the field in which the company operates.
This way, it becomes easier to understand what the client addresses
at the meeting and ask the right questions. It will also make it easier
to prepare a presentation for the meeting and know what examples
from the portfolio may be relevant to showcase (. Understanding the
company, . Situational study).
Presentation
For the designer, a good approach at an initial meeting may be to pre-
sent some projects the company can identify with, for example, from
the same business area, or something that can inspire them and urge
them to think in new and different ways. This can also lead to additional
sales. Being able to show measurable results such as increased sales,
increased attention, increased awareness, or the like, is the best proof
that a design can have a positive effect and be a sound investment. While
it may be tempting to show the best projects, this should not be done
uncritically. For example, it can be risky to show projects perceived as
competitive or about something completely different and irrelevant, like
presenting a book design to a company that wants help with packaging
design. There are always exceptions, and it is nice to highlight great
success stories that bring praise and honour. Demonstrating processes
and methods can also be helpful, both to establish an understanding
of what a design project entails and what is required in terms of time
and resources for both parties. In this context, it is crucial to know the
company’s experience as a design buyer to avoid being too instructive.
The main focus should be on pitching expertise related to the company ’s
needs and advantageously referring to dedicated collaborators relevant
to the project (. Initial meeting).
Time is always an essential aspect. Dealing with the management,
as is the case when pitching design services, they often have very little
time. How much time they have set aside should preferably be clarified
Tips for the designer
It is a good idea to keep an
eye on the client during a
sales pitch and assess when
enough is enough. It is impor-
tant not to oversell. Facial
expressions and attit udes
quickly reveal whether some-
thing is interest ing or not. If
someone star ts to fidget and
check their phone, i t may be
time t o round off the pres-
entation, and inst ead spend
some time on setting up a
new appoint ment and then
end the meeting.
Ask quest ions, then
poke, prod, and probe
until you get people
talking. Ask follow-up
questions like: ‘I really
like what you said about
______, can you go a
little further?’, ‘What
do you mean by that?’,
‘Why do you feel t hat
way?’ (Norman, 2019)
There are several companies
that o ffer such services online,
such as experian.com and
Dun&Bradst reet.com.
6
Pitch Perfect
A pitch is a short and sharp sales presentation. Here are five tips
for a successful pitch, based on Amundsen ():
1) Prepare well
– What is unique about you, your idea, product or servic e?
– What needs do you meet? What is the market potential?
– Any challenges? Why bet on you?
2) Create a script
– Write down what you intend to say.
– Review the text, edit, and see where you can put a full
stop more often. This can help you get your message
across more accurately and clearly.
– Be concise, objective and precise. Put forward one thing
at a time.
– Make your message highly informative and vibrant.
3) Practise your presentation – practice makes perfect
– It is not enough to talk through the presentation in your
own head. Say it out loud. Then you will hear whether it
works or not.
– Test your presentation before a friend or colleague to
get constructive feedback.
– Practise until you know it by heart.
4) Be yourself – do it your own way!
– Do not compare yourself to others.
– Tell yourself that you are going to present something
unique (to you).
– It does not matter if you are nervous, as long as you are
sure of what to say and how to say it. No one but you can
do that better than yourself.
5) Watch the time
Stick to the schedule and practise this beforehand as well.
Make sure you can actually keep within the timefreame. It
can be quite annoying when this is not taken into account.
in advance or at the beginning of the meeting. The designer may also
request in advance that a decision-maker attend the meeting so that
those present at the meeting would not have to ‘resell’ the designer’s
message. Those who are not designers themselves may have challenges
expressing or conveying the designer’s message, unique advantages,
and expertise.
Business executives are not a homogeneous group: they come from
many different industries and cultures. This applies to designers too,
who span business and art. There may be diverse interests, specialist
languages, terms, jargon, focus areas and last but not least, reality
perceptions between the design buyer and the designer. One success
factor is reaching out to each other and engaging in a good discussion,
focusing on the opportunities in collaboration. The designer’s ability
to identify problems, think analytically and creatively, to see both the
big picture and the details, and be able to work with both structural
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
–
Preparations
–
Presentation
Further reading
Show Your Work!: 10 Ways to
Share Your Creativit y and Get
Discovered by Austin Kleon
(2014).
7
Five tips for a good argument
You may be a designer, but when it c omes to introducing yourself
or pitching an idea, you have to act like a salesman. To really con-
vince a client, nothing beats a good fact-based argument. Based
on (Hoekman, ):
1) List en and repeat t heir words
: The client often tries to tell you
things they do not know how to express. Your job as a designer
is to read between the lines and extract the truths, they are
not clear about. Before you can develop any kind of solu-
tion, you need to know what the problem is. And that means
listening. It helps you identify what the client’s concerns and
goals really are. Repeating what you hear makes the person
feel more receptive to your recommendations and ideas. By
listening, you show respect.
2) Ask questions: A designer asks questions – about the users,
the business, the concerns, the needs, the previous deci-
sions, the goals, and so on. Good designers want to see the
big picture. They ask questions because they are curious
and because the answers can help them make good design
decisions. Asking is as important as listening. It helps form
arguments for and against.
3) Give reasons for your views
: Spend some time explaining and
justifying your views, arguments, and recommendations. This
is how you gain more attention and respect, and your ideas
and views create more impact.
4) Present your presentation as a story : If you can explain
your arguments through a presentation, by applying an
essay-like structure to your communication, you do not
have to spend so much time arguing. Ask those present
to wait until you have finished your presentation before
asking questions. In a worst-case scenario, questions along
the way might steal your most important points. Instead,
allow some time for questions after the presentation. You
can almost guarantee that someone will ask you something
you have not thought of.
5) Point to the evidence : One way to argue is to come up with
facts and evidence. Proof can be found anywhere. It could be
something you have read, a user survey you have conducted,
it could be results from a similar project with similar issues
where you can refer to measurable results. Be sure to have
good sources, data and facts at hand to substantiate your
claims. The last thing you want is to get caught making false
claims if you are pinned up against the wall. If you have all
the facts at hand and you can prove their validity, people will
believe you. This is not only an advantage at the meeting in
question, but with such an approach you may find over time
that your customers see you as a reliable source and they will
trust your arguments more than their own assumptions.
Tips for the client
The designer st anding in
front of you, can be the key to
your success. You are think-
ing that designers only creat e
logo designs and décor? Well,
some do only t hat, but many
designers solve large complex
tasks, which intervene in how
the company t hinks, performs
its tasks, develops and sells
its products or services, and
how they approach a more
sust ainable and environmen-
tally friendly way of doing
business. The designer is
first and foremost a problem
solver wit h a creative way
of thinking that can lead to
increased value for the com-
pany and their customers.
Tips for the designer
Acquaint yourself in advance
with the company you are
meeting with. Think your
argument through. Decide
what impression you want
to leave the company wit h,
such as excit ed, impressed,
convinced. Plan your effor ts
based on that. Be sure not
to oversell yoursel f or offer
easy solut ions. Study nego-
tiat ion techniques and avoid
overpricing. Think smart .
Be forward-looking and take
interes t, show commit ment,
be curious, ask quest ions, and
take notes. All notes will come
in handy in your further work
if you get the job. Good luck!
8
and visual solutions, makes the designer an important partner for
businesses pursuing growth and value creation (.. Value creation, .
Problem statement, Strategy, . Design methodology, . Concept
development, . Design development).
. Project brief
The project brief is the client’s first presentation of an
assignment to the designer. It should provide a short
and clear description of the project to serve as a star-
ting point for their first meeting. The designer uses the
project brief as a basis to draw up a more detailed project
description or project plan.
When a designer receives a project brief from a client, it might be incom-
plete. The designer will seek to clarify matters that are unclear through
initial meetings and workshops. Based on this, the designer writes a
more comprehensive project description or project plan (. Project
description). The project brief should provide a clear presentation of
the company, the project to be carried out, the reason for initiating the
project, the problem to be solved, and the project goals. Furthermore,
it is a plus if the client also describes what deadlines, frameworks and
requirements that apply, as well as necessary qualifications needed to
solve the task. This is also something that can be cleared through the
introductory discussions. It is important for the client to be aware that
the project may take a completely different turn after the initial meeting
and workshop, where the designer asks in-depth questions to shed light
on the real problems and needs of the company.
The layout, content and designation of a project brief may vary, but
the structure can be quite similar. Here is a template that the designer
can send to the client as a basis for preparing a project brief at the
beginning of a project. The client fills in the items about which it is
possible to say something initially. It may be difficult to have a clear
idea about some of these items at an early stage of the project, such as
for example, problem statement and project goals. Much can be sorted
out during the initial meeting and in the workshop, as well as in further
studies, research, and surveys. If the goals and tasks for the project are
already clearly defined, and necessary studies and strategy development
has been carried out, a design brief may be prepared, which is a more
complementary briefing (. Design brief ).
Project brief template
Client: Company name and contact person.*
Date: Date on which the brief is prepared.*
Project name: Work title of the project.*
The company
: Brief description of the company, product and/or service.*
Problems and needs: Brief description of the company’s position, chal-
lenges, problems and opportunities, and what problems or needs the
project will help solve.*
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
– Project brief templat e
Presentasjon online
Test the present ation
in advance at the s ame
type of digital meeting
platform that will be
used during the meeting
with the client . Keep
your slides simple. Limit
the amount of text. High-
light import ant informa-
tion and use quotes.
Capture at tention
by showing beauti ful
images and video slides
to break up the speak-
ing. Avoid talking for
too long in one stretch.
Give your audience a
chance t o share their
opinions. Interact with
your audience. Enable
participants to pose
questions, clarify ideas,
and solve any misun-
derst andings. Limit the
time you spend sharing
a screen; instead show
your own face when
talking. Reflect live af ter
the present ation or use
for example Ment imeter
to ask how the attendees
felt during t he session
and how useful it was.
Based on Hanifan (2021),
mentimet er.com
9
.
The project: Short introduction to the project, including background,
what tasks should be carried out and why.*
Project goal and ambition level: Short description of the preliminary
plan, goal and ambition level of the project, as well as how the project is
intended to contribute to achieving these goals.
Target groups
: Description of target groups relevant for the project
and their order of priority; primary, secondary and other stakeholders.
Strategic anchoring: Short explanation of how, the project is or will be
anchored towards the main goals and strategy of the company. Relevant
strategy documents attached, if available. For example, short version of
the main strategy, business strategy, any sub-strategies, such as brand
strategy and communication strategy, etc.
Deliverables: Explanation of what activities, tasks and final
deliverables are envisaged, such as visual identity, packaging design,
service design, website, advertisement or the like. See also . Design
brief, for a more complete briefing on the delivery.
Time frame: Delivery date*, and dates of sub-deliveries.
Evaluation: Any plan for measuring and evaluating results, and the
measurement tools to be used.
Budget framework
: Total budget, partial budget or budget estimate
for the project.
Qualification requirements
: Any other requirements or demands for
inter- or multidisciplinary competence.
The items that the client should answer as a minimum are marked with
an asterisk.
Initial meeting
A successful initial meeting is essential in getting the
project off to a good start. The purpose is for the client
and the designer to establish a common understanding
of the project, the client’s objectives and level of ambi-
tion, the designer’s qualifications and suitability, budget
framework and delivery time.
The first meeting between the designer and the client in connection
with the start-up of a new design project is described here as an initial
meeting. This meeting is an opportunity for both parties to discuss
what the client wants from the designer and what the designer can
contribute with. The client usually selects a designer based on their
qualifications and suitability, and quite often consider several design-
ers for the project. Therefore, the initial meeting is also a sales pitch
meeting for the designer.
If there is a question of whether the meeting should be held physically
or digitally, there are advantages to both solutions. If the first meeting
can be held physically, the communication might go more success-
fully. One might understand more easily each other’s personality and
determine whether the chemistry is right if it is a good match. When it
is difficult to meet physically, meeting digitally can have its benefits. It
Tips for the designer
Listen, ask questions, and
show measurable results.
Tips for the client
The project brief should ide-
ally be written and sent to
the designer before the initial
meeting. Alternately, you can
give an oral briefing at the
initial meeting. Designer pro-
vides a more specific project
description aft er the meet ing,
which must be approved by
you before t he work can begin.
A project brief is a
short descript ion of
key elements o f your
project. Think of it as
a quick summary for
project st akeholders
and cross-funct ional
collaborators (Martins,
2020). The project brief
is a key document at the
initiation of a project, in
that i t brings everyone
together to serve a com-
mon end (Landau, 2021).
10
Terminology
Project brief: Written by the client when initiating a new design
project, before research and strategy work is carried out. The
project brief should give a short introduction to the project and
should be followed up by the designer with a project description
and price estimate.
Project descript ion: Written by the designer based on the project
brief and the information obtained during the initial meeting and
the initial workshop. The project description should provide a
clear description of the project, as well as tentative or final goals,
framework and conditions.
Design brief: Written by the client when initiating a new design
project, after research and strategy work has been carried out.
It can also be written by the designer who has participated in the
strategy development and must later be approved by the client.
The design brief should describe the task to be solved, the purpose
of the task and which deliverables will be included (. Design brief ).
Creative brief: Written by the designer to provide the basis and
direction for the creative work. A creative brief is most often used
internally by the designer or design agency. Some use the term
‘creative brief ’ for the ‘design brief ’.
What is a brief?: A brief is a set of instructions given to a person
about a job or task (Brief, n.d.). It should include a summary of facts,
findings, and objectives, and provide the reader with a short and
concise overview of a study, plan, situation, etc.
Why do we need a brief?: The designer/team and the client must
have the same understanding of the project and its framework.
This applies to time spent, finances and level of ambition for the
job (Myhre, ).
blurs geographical boundaries and makes the designer and the client less
dependent on being located close to each other. It can also be time-saving,
as one does not have to spend time travelling. That again can be valuable
in terms of lowering costs and saving the environment. Regardless of
whether the meeting is digital or physical, many of the same principles
apply to preparation, implementation, and follow-up after the meeting.
.. Before the meeting
The designer prepares for the initial meeting by reading the project brief
and studying the client’s company. This includes checking what products
or services the company sells, what the market and the competitive situ-
ation looks like, how the company appears in different arenas, such as
retail outlets, in the public space, office facades, web and social media, car
decor, uniforms, advertisements, etc. Is the profile consistent and clear?
What associations do the name and logo express? How is communication
perceived? How do customers and users experience their products and
services? Such information is often available online. It may also be a good
idea to take a look at competitors, to find out how they appear compared
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
.. Before the meeting
.. During the meeting
.. After the meeting
.. Meeting administ ration
11
to the company’s product or service. What are the current trends? What
is innovative in their category? It might be useful to make a simple visual
analysis of the competitive picture from an early stage, in order to obtain
an overview of the different market players’ assumed position and be able
to discover their possible differentiation potential. Is there a gap or niche
that the company can fill? In general, it is important to look for obvious
deficiencies, problems or needs (. Initial preparations).
Both the designer and the client must decide who should attend the
meeting, and what roles and areas of responsibility are required to be
represented. The designer might have an opinion on which of the client’s
representatives should attend the meeting and communicate it to the
client. If the design assignment will affect the strategy and business
development of the company, it is a prerequisite that representatives
of the owner and the management attend the initial meeting. Project
leaders and decision-makers should always be present, but in general it
is natural to consider the number of participants in relation to the scope
of the project. In large projects the designer might consider to have two
or more people present in order to be able to allocate roles and tasks
during the meeting. In some projects it may be relevant for the designer
to also involve external collaborators in order to satisfy requirements
for the desired expertise.
.. During the meeting
If it is the client who has organised the first meeting, it may be natural for
them to chair the meeting. In later stages, when ideas and drafts are to
be presented, it is common for the designer to take up this role. During
the initial meeting, it can be an advantage if the client is the one to open
the meeting by presenting the company and the task to be carried out,
before the designer gives their presentation. Thus, the designer can better
adapt their presentation to the needs and problems emerging, as well as
to fulfil the role as consultant and adviser. In order to do this properly, it
might be a good idea to take notes and ask relevant questions along the
way. A relevant question will often be: Will the task you want us to solve
actually meet a need or solve any problems? For example, if the project is
to create a new website, it would be natural for the designer to ask why the
company needs a new website and what has triggered this need. What is
the problem? If the problem turns out to be a decline in sales, the designer
may suggest investigating the situation further to find out what the reason
for the decline in sales is, and in the next round consider what steps should
actually be taken to resolve the problem. Through questions and consulta-
tion, the designer demonstrates their own competence and qualifications.
Clearing things up at the beginning of the project can help ensure that the
time and the resources of both the company and the designer are used
more expediently in the project. As a result, the project might become
more comprehensive, strategic and exciting than originally envisaged.
Price is something that is often brought up at the first meeting.
Naturally, the client is often concerned with getting a quote on the table
as quickly as possible, but here the designer should show restraint and
not suggest any prices during the meeting. Only when the content, scope
and level of ambition of the project have been sufficiently clarified, the
Tips for the designer
The client may consciously
or unconsciously emphasise
qualities other than profes-
sional skills, such as how
the designer stands and
communicates; whether the
designer is perceived as open,
inclusive, safe, engaged, con-
fident, empathet ic, with good
communication skills and
good at conveying t houghts
and ideas.
‘Consistent’ means that
something is marked by
harmony, regularity, or
steady continuity: free
from variat ion or con-
tradiction (Consist ent,
n.d.).
12
work on drawing up a project description and preparing a budget may
begin. If the client is open with their budget framework, it could save
time for both parties, because the designer can calculate time and
resources within the set limits. The designer should consider whether
the level of ambition of the project to be carried out is realistic in rela-
tion to the budget framework. High levels of ambition can mean more
thorough processes and more time spent, resulting in a higher total
price (. Price quotation). Experience shows that many businesses
purchasing design services, have little experience of what a designer
can offer, what a design process involves in terms of time and resources,
what it costs, and what results they can expect. To a certain extent, the
designer can make this more predictable by presenting similar design
projects and demonstrating successful outcomes, such as increased
attention, greater awareness or increased sales, alongside explaining
how a design process is normally carried out (Phase Design; Design
process, . Design methodology).
At the end of the meeting, a summary should be made of the ques-
tions and conclusions reached, and hopefully a plan for a new meeting
and further progress. The designer may ask if the company has received
sufficient information and when they will choose a designer. If the deci-
sion is not already taken at the meeting, a deadline should be agreed.
.. After the meeting
The designer should record their own meeting minutes, even if the
client does too, and should ask the client to approve the minutes in
writing. This way, the designer will have confirmation that both parties
are unanimous on the matters and decisions taken during the meet-
ing. The designer follows up after the meeting by sending the meeting
summary, drawing up a progress schedule and drafting an agreement.
It is the designer who will provide the service and make arrangements,
thus facilitating the client. The designer should never take it for granted
to be chosen for an assignment, even if it may seem that way during the
initial meeting. The designer is constantly in a sales situation, and even
after the project has been assigned, the designer will be continuously
assessed on what is being delivered (. Progress schedule).
.. Meeting administration
A successful meeting requires a go od structure for planning and admin-
istration. Detailed level of preparation, implementation and follow-up
must be considered in relation to the scope and complexity of the pro-
ject. Whether it is the designer or the client that will act as the meeting
chairperson may vary in the course of the design project. Here is an
example of an outline for a good meeting plan.
Purpose: What is the purpose of the meeting? Clarify the purpose of the
meeting and what you expect to achieve with it.
Participants:
Who will attend the meeting? Clarify who the decision-
makers are and other project participants/contributors.
Invitation: Who convenes the meeting and what matters should the
meeting include? Usually, the person who initiates the meeting sends out
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
.. Before the meeting
.. During the meeting
.. After the meeting
.. Meeting administ ration
5 expert tips to boost
your online present a-
tion skills (Hanifan
2021, ment imeter.com)
1. Engage the audience
and build a connection.
Get t he audience
involved. Give the audi-
ence a chance to share
their opinions!
2. Add st unning visuals
to capture attention.
Capture at tention
by showing beauti ful
images and video slides
to break up the t alking.
3. Interact with your
audience.
Use Q&A session to
enable part icipants t o
pose questions, clarify
ideas, and solve any mis-
underst andings.
4. Keep it simple.
Keep your slides simple.
Limit t he amount of text
and avoid talking for too
long in one st retch. High-
light import ant informa-
tion and use quot es.
5. Reflect aft erwards.
Reflect live or use e.g.
Mentimeter to ask how
the at tendees felt during
the session, and how
useful i t was.
13
a meeting invitation, arranges the meeting venue, does the preparation,
and acts as the chairperson. The invitation should be sent out in a timely
manner and should include the time, duration and venue of the meeting,
title and purpose of the meeting, names of participants, agenda and
contact details, as well as the meeting location as well as an address or
a link to a digital meeting platform. Ask for confirmation on who will be
attending the meeting and, if necessary, send out a reminder.
Agenda: What should the agenda include? The agenda should describe
each item, who is responsible for it and how much time has been allocated
for each item. The agenda may follow as an appendix to the invitation.
At the initial meeting, an agenda could look like this:
) Opening remarks and introduction by the chairperson
) Presentation of the client’s company by the general manager
) Presentation of the project brief by the market manager
) Presentation of the design agency and its qualifications by the
designer
) Discussion about the project, level of ambition, time and budget
framework
) Questions about qualification and choice of agency
) Summary and further progress
) Miscellaneous
If there has been a previous meeting, the agenda may start with follow-up
matters from the previous meeting. If someone is to prepare something,
this should be stated in the invitation. Draft decisions may, where appro-
priate, follow the agenda.
Full digital meetings
: Ensure that all participants see and hear,
and are included in what goes on in the meeting.
Combined meetings
: Combining digital and physical meetings
might be successful if it is properly prepared (Norman, ).
Before the meeting, the chairperson must:
Make sure that the necessary equipment is available. For a physical meet-
ing this might be a projector, video transfer, extension cord, whiteboard,
flip charts, pens, etc. Check in advance what kind of serving and meeting
facilities project participants would need or want. For a digital meeting
there might be a need for digital boards, charts and teamwork facilities.
Before the meeting, each meeting part icipant must :
Prepare by reading the invitation and the agenda, checking out the roles
and profiles of the participants, practise their own presentation, write
down questions and comments, and so on. For physical meetings one
should bring suitable equipment for presentation and notes, remember
the correct dress code and allow plenty of time for travel and parking.
For digital meetings one should pre-test the digital platform, trial run
one’s own presentation and remember to log in some minutes before
the meeting.
Tips for the designer
Think carefully about the
purpose of the meeting, what
you would like to get out of
it , what impression you want
the client to be left with af ter
the meeting, and what feeling
you want to leave the meeting
with yourself. Do you want the
client to be enthusiastic and
perceive you as a skilled quali-
fied person? If so, you must
do bot h the ment al and the
practical preparations, which
are necessary in order for
the client to act ually perceive
you as such. It is about being
conscious of your behaviour
and clothing style, how you
talk, listen, and argue, how
you appear as professionally
competent, engaged and
trustworthy. All in all, being
yourself is an advant age. A lot
of things are about chemistry
– good chemist ry.
14
During the meeting, t he chairperson must :
– Consider the tone and style of the meeting (formal or informal?).
–
Turn the attention away from oneself and focus on the role as chair-
person.
– Start with some small talk before the meeting begins if there is time.
– Start the meeting on time. Delay is misuse of everyone’s time. Manage
time generously throughout the meeting.
–
Clarify the purpose of the meeting, agenda, time frame, time for breaks
and selection of the minute taker.
– Write clear notes, preferably based on the agenda layout.
–
Create dialogue and debate by asking questions and challenging
claims.
– Manage discussions, make sure everyone’s opinions are expressed.
– Repeat important comments to emphasise.
–
Ensure that discussions end in a conclusion by repeating decisions along
the way and asking if everything is properly understood.
During the meeting, t he meeting participant must :
–
Present their input ac
cording to the agenda.
–
Comment, a
sk questions, participate in discussions.
–
In formal me
etings raise a hand to speak.
–
T
ake their own notes.
After the meet ing, the chairperson must:
–
Briefly summaris
e the items and conclusions.
–
C
larify whether meeting participants have a common understanding
of items and conclusions.
– Review which items are to be followed up, as well as their deadlines and
who is responsible.
–
Check if the purpose of the meeting has been achieved or if there is
anything unclear.
–
Did the client receive sufficient information to be able to choose a
designer?
–
Should the choice of designer be made during the meeting or after, and,
if relevant, when?
–
Has the designer received sufficient information about the project to be
able to write a project description and submit a quotation?
– Are more meetings or a workshop necessary? If relevant, when?
– Suggest further progress and date for a possible new meeting.
Minutes:
The chairperson is responsible for the minutes being written and
distributed. The minutes of the meeting must include the date and
name of the meeting, the purpose of the meeting, the names of the
participants, items and conclusions, the persons responsible and
deadlines for the follow-up of items and, where appropriate, the date
of a new meeting. Minutes of meetings should be sent out shortly after
the meeting. Meeting participants are given a short deadline to make
adjustments to the content. If the designer is the minute taker, they
should request written approval of minutes from the client, preferably
by email.
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
.. Before the meeting
.. During the meeting
.. After the meeting
.. Meeting administ ration
Tips for the meeting
leader
Give people a warm
welcome
Physical meet ing: Shake
hands wi th meet ing
participants when t hey
arrive, look them in the
eye, break the ice with
small talk, for example.
‘I see you’ve had a lot
of press coverage in
the past few days,’ or:
‘Did you find a parking
space?’. Make sure
everyone hang up their
jackets, is given a drink,
and finds a seat at t he
meeting table.
Digit al meeting: If the
meeting is not too formal
and you have t ime before
the meeting starts, you
can say hello t o each of
the participants as they
appear on t he screen.
Say their name, ask how
they are, where they are,
what the weather is like
in their ci ty or country,
or give a posit ive com-
ment about somet hing
they have achieved or
shared recently.
15
. Initial workshop
An initial workshop is very useful during the initial phase
of a design project. The purpose of such a workshop is to
clarify the project to be carried out and establish targeted
and strategic anchoring. An initial workshop may be held
instead of, in addition to, or as part of the initial meeting.
If a new project has not been sufficiently clarified in the project brief and
during the initial meeting, the designer may propose conducting an initial
workshop with relevant participants representing the company and the
designer. It is also possible to start a design project with a workshop.
A workshop is a work meeting where a group of people gather to solve
tasks together through brainstorming and creative processes. Using
workshops is a great way to activate the client and make the company
participate in the work process, which is a key factor to ensure a succes-
sful collaboration further on in the process. A workshop is also a strong
tool for anchoring change processes internally in the company, by involv-
ing people from different areas of the organisation in the various phases
of the process. There are no limitations as to what can be resolved at a
workshop, or how a workshop can be conducted, nor by whom or where.
It might be facilitated by the designer for the company or carried out
by the company internally, in conjunction with a design project or any
project. The need for a workshop is assessed based on the nature, sc ope
and time of the project. We distinguish here among:
– Initial workshop : clarify project goal and task.
– Strategic workshop : gather insights and develop strategy.
– Creative workshop : develop ideas and solutions.
A workshop is a work
meeting where a group
of people gather to solve
tasks toget her through
brainstorming and crea-
tive processes.
If there is time and budget to conduct only one workshop, an initial
workshop could for example be combined with a strategic workshop.
(.. Strategic workshop).
An initial workshop is a sound investment for the client since it
makes the project clearer and more targeted. It should be carried out
before the project description and quotations are drawn up, and the
contract has been signed. The designer can give a separate price for
an initial workshop, as a preliminary project independent of the price
of the project in general. It is not necessary for the client to choose
a design partner before the workshop is carried out. The workshop
will in any case be useful to clarify the task to be solved in the project.
The results of the workshop are compiled in a simple report with
clear conclusions and recommendations, which will serve as a tool in
further work.
Purpose of initial workshop
The main purpose of an initial workshop is for the client and the designer
to have a common understanding of the project to be carried out and
of what the mandate of the project is. Firstly, it involves identifying the
company’s needs or problems to be addressed as a starting point for
16
..
defining a Problem statement (. Problem statement). Secondly, it is
about clarifying the project goal and connecting this to the company’s
main goal and strategy. It is also a plus to establish as early as possible
a clear framework, scope and level of ambition for the project, as well
what conditions and prerequisites will apply, although some of these
may be clarified at a later stage. The design project, as presented in
the original project brief by the client, can change in nature and scope
after an initial workshop when the needs and situation of the company
become clearer. Several workshops may also be necessary during the
initiation phase, and here a smooth transition to a strategic workshop
is possible, the purpose of which is to work out the necessary objectives
and strategies (.. Strategic workshop, .. PIPI workshop, ..
Where are we – where will we?, .. SWOT analysis: SWOT-workshop).
.. Workshop preparation
When the designer proposes an initial workshop, the opportunity is
there to take a central role in convening, planning and directing the
workshop, as well as preparing a report. Good preparation is essential for
a successful workshop. It involves thinking carefully through a number
of questions. What is the purpose of the workshop? What is unclear?
What should we know more about, which can be revealed through a
workshop? Is the company’s product/service and business strategy
clearly defined? Are there clear overall objectives? How is the project
rooted in the company’s main goal and strategy? What challenges or
problems does the company face, externally in the market and internally
in the company? Which of these problems should the project help solve?
Do they know their competitive situation? Do they have a clear position
in the market? How does the communication of the company, product
or service take place? Is it clear and easy to understand? How do they
appear visually? Do they have a strong and distinct identity and image?
How do their products or services work in terms of buyer expectations
and user needs? Which of these or other questions can be answered
during the initial workshop? Relevant questions are prioritised accord
-
ing to the importance of obtaining an answer and are part of an outline,
which is used to steer workshop activities and serves as the basis for
a simple report.
.. Workshop invitation
The invitation to an initial workshop does not require details of its
content. A list of what results are desirable would suffice; for example,
to clarify the project goal and framework. If the client does not prepare
before the workshop, it is an advantage, because it is often the spontane-
ous and intuitive input that yields the best results. The client should have
at least two representatives or as many as the client wishes to include,
preferably not more than eight, who together represent a breadth of
knowledge and experience in areas related to the company. The invita-
tion should encourage the client to include people from different parts
of the organisation, such as from marketing, production, technical or
any other relevant areas.
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
.. Purpose of initial
workshop
.. Workshop preparation
.. Workshop invit ation
.. Workshop facilit ies
.. Workshop
management
.. Workshop execut ion
.. Workshop report
.. Workshop process
Further reading
Check out the book: Design-
ing & Leading Life-Changing
Workshops: Creating t he
Conditions for Transforma-
tion in Your Groups, Train-
ings, and Retreats (2020) by
Nelson et al.
An init ial workshop
brings clarit y to the
problem to be solved by
the project .
17
.. Workshop facilities
It may be a good idea to hold the workshop at the designer’s premises
to get the client away from familiar surroundings. On the other hand, it
can be an advantage for the designer to meet the client on their home
turf, and it might be more convenient for people attending from the
company. In any case, the designer must ensure that the necessary equip-
ment is available, for example, a flip chart, heavy duty tape (for hanging
up flip chart sheets), thick markers in different colours; Post-it notes
are also a ‘must’, and ‘brain food’ in the form of chocolate, biscuits and
fruit, or anything else that can give a good energy boost. The workshop
might be conducted digitally using Miro Board, Padlet or other digital
platforms offering workshop facilities. Choose a digital platform that
is easy to learn and use and has the necessary functions and tools for
interaction. Anyway it might be necessary to calculate time for a short
introduction of the digital tool to be used, for the participants that are
unfamiliar with it.
.. Workshop management
Conducting a workshop involves many tasks. If more than one person
from the design agency participates, tasks may be delegated. The
designer may also handle all the tasks alone. The most important tasks
are to engage and encourage people to participate, be open, join in on
brainstorming and discussions. More practical tasks are also important,
such as serving coffee/tea and something sweet, steering the workshop,
taking notes of everything that is said, highlighting priorities and results
that emerge, and finally making sure flip charts are brought and/or
photographed. It may be helpful to include a photo of the entire team at
work to include in the report or a subsequent presentation of the results.
.. Workshop execution
There are many ways to conduct a workshop, and it depends to a large
extent on its purpose, the type of project and the nature of the company.
An initial workshop may take place as follows: The workshop leader intro-
duces the purpose of the workshop and explains that it will be carried out
through drills, tasks, brainstorming and discussions, without going into
detail about the content. The leader starts quickly with the first task.
All participants receive pens, paper and Post-it notes, and are asked
to respond to the task individually. The leader stands by the flip chart
to record the results that emerge. Answers are sorted and processed
together until there are some responses that everyone agrees on.
During an initial workshop, there are (almost) always three ques-
tions that can be used to clarify the current situation and project: a) What
does the company do? b) What challenges do you face? c) What is the
goal of the design project?
a) What does the company do?
The first question may seem rather
trivial: What is the company doing/offering? Most people would probably
think that all businesses know what they do, and what they offer, and
Tips for the designer
An initial workshop is suit able
as input. It is a good way to
uncover the client’s si tuation
and needs, and a favourable
occasion to pitch one’s own
expertise. In other words, it is
useful t o both part ies. Do not
forget t o get paid.
Miroboard is an online col-
laborative whiteboard plat-
form (miro.com), suitable for
interactions in workshops and
co-creat ion.
18
that everyone who works in the company has a common understanding
of it. However, the designer should assume that the reality is different,
that employees do not share an unambiguous perception of what the
company does. Managers and owners in the same company might often
explain the company and its product or service in widely different ways
and have different opinions without really being aware of it, and without
thinking that it leaves an unclear picture of the company. If you ask ten
people from the same business to describe what the company does in
one sentence, you will probably get ten different answers. When initiat-
ing a design project, it is important for the designer to have a correct
understanding of what the company does, and it should be consistent
with the client’s perception.
b) What are their challenges and problems? The second question is
one of the most important ones to be answered. What challenges or
problems does the company face? Such a question is often met with
some resistance. Similarly, to people who perceive their problems as
personal, the company perceives its problems as both personal and
confidential and does not share them with just anyone. It can therefore
be challenging to get the company to open up and share their problems
(here it is important to assure them that all information they share will
be confidential). In addition, experience shows that the vast majority
do not use the word ‘problems’, or have no problems, but that they may
face some challenges. Nevertheless, when the client initiates a design
project, the cause is usually a problem, whether conscious or uncon-
scious. A successful project is me asured based on whether the solution
has resolved the problem. No problem, no solution. In uncovering the
problem, many other problems, both internal and external, may be
raised. When problems are listed, they should be categorised, weighed
and prioritised. This work is done during the workshop in collaboration
with the company, and it constitutes the basis for the clarification and
formulation of a problem statement (. Problem statement).
c) What is the project goal? The third question comes as a natural con-
tinuation of the previous. Once the problems have been recorded and
ranked, participants discuss which of them the design project should
help solve, what results are envisaged, and what should be the project
goal. Without a clear goal on which the parties agree, it will be difficult
to plan how the project should be carried out and the results measured.
In this context, it is also important to talk about how the design project
should help the company in achieving its long-term overall objectives. Not
infrequently, the need for development or adjustment of the goals and
strategies of the company is revealed when initiating a design project. The
designer may propose to work on this before the design task is defined
and initiated (. Goals and subgoals, .. Goals for a design project).
.. Workshop report
The report should include the project name, date, purpose of the work-
shop and names of client and designer representatives. It should begin
with a brief description of the project, what has been accomplished,
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
.. Purpose of initial
workshop
.. Workshop preparation
.. Workshop invit ation
.. Workshop facilit ies
.. Workshop
management
.. Workshop execut ion
.. Workshop report
.. Workshop process
‘It is crucial t hat design-
ers are good at handling
complexity in order to
take advant age of their
unique abilities for visual
thinking and problem
solving. Design activi-
ties and processes are
moving closer and closer
into our customers’ core
structures. This creat es
an even greater need
for informat ion process-
ing and st akeholder
management. Keeping
the right people, who
are involved, at the right
level and at the right
time, creates basis for
strong ownership of the
process and the ideas it
brings out’ (Sevaldson,
2011).
19
and what has been concluded. Questions and results are then pre-
sented in a clear and structured manner. It is a good idea to record
the results at the top of each item so that they are easy to find. Any
unanswered matters are highlighted for further processing. If there
are many words and phrases from the brainstorming, they may be
included as an appendix to the report. The report should include
suggestions for conclusions and further action. It is explained how
the results affect the project to be carried out. The report may be
included as part of the continued work on situational study and
strategy development.
After the workshop activities have been completed, the report
approved, and the assignment clarified, a project description, progress
schedule, budget and contract can be prepared. If needed, a new work-
shop is proposed, along with suggestions for alternative dates and price.
A second workshop can be expanded with questions from situational
studies or situational analysis or combined with strategic workshop
(. Situational study, .. PIPI workshop, .. Where are we – where
will we?, .. Situational analysis, .. Strategic workshop).
.. Workshop process
Below is an example of initial workshop process based on three main
questions:
) What does the company do/offer?
) What problems/challenges does the company have?
) What is the project goal, level of ambition and expected result/
effect?
Quest ion 1: What does the company do/offer?
Say in a sentence what your company is, does, or offers?
Select either a, b or c:
a) Business: Say in one sentence what you do/offer.
b) Product: Describe the product in one sentence.
c) Service: Describe the service in one sentence.
The purpose of the question is to arrive at a clear explanation of what
the company does, so that the client, designer and everyone involved
will have a common understanding of this.
Proposed approach:
) The participants sit around a table. Everyone is given pen and
paper. The chairperson stands up and gives guidance.
) The chairperson asks each person to write a sentence describing
what the company does without talking to the others.
) Each person may write several sentences, but reads out only the
one they are most satisfied with. (Feel free to have leaders/decision-
makers read out their answers last, as their words and opinions
often determine what colleagues dare to say.)
Tips for the designer
A small or medium sized
enterprise is often led by an
entrepreneur who has the
whole business st rategy in
their head, and who believes
that all the employees can
read their mind. It is essent ial
that everyone in the company
has the same perception o f
what the company should be
doing and that everyone com-
municates the same t hings to
those around t hem. If you as a
designer are t o develop a visual
identity or cont ribute wit h
other services to a company,
it is absolut ely necessary
that they know what the
company offers, and t hat you
and your client have the s ame
perception o f it. It should be
clearly worded in a business
concept, as part of an overall
strategy (3.2.3 Business idea).
The question c an advanta-
geously be asked and elabo-
rated in a strat egic workshop.
Workshop model suggestions:
. Strategic workshop, ..
Value Proposition, Figure .
AEIOU Empat hy map.
20
) The meeting leader records all the sentences on a flip chart and
asks if anyone has anything to add. The flip charts are taped to the
wall (numbered).
) Each participant marks out, with a post-it note or marker, the
word among all the sentences that they think best describes the
company.
) The selecte d words are rewritten on flip chart sheets, and everyone
works together to find synonyms, or come up with new words that
describe, explain, and express the company. The words should
sound good, be easy to pronounce and easy to understand.
) Particip ants are instructed to write down new sentences using the
selected words to describe what the company does. This can be
done individually or as a brainstorming session.
) The best sentences are recorded on flip chart sheets. Steps ,
and can be repeated until there is a result that everyone is
satisfied with.
) In conclusion, the result can be used to clarify: ) What the core
business is? For example: A grocery store sells groceries. ) In
which industry does the company operate? The grocery business.
) The chairperson praises everyone enthusiastically and empha sises
that everyone now agrees on a description of the company.
Then it is time for the chairperson to explain why this is so important:
a) it is essential for everyone to have a common understanding of what
the company does before the design project is started, b) it is a suc cess
factor to be able to communicate the company verbally and visually to
the outside world in a clear and consistent way, c) it is a good starting
point for defining or adjusting the business idea (.. Bussiness idea).
However, it is important to underline that the results of the workshop
must be allowed time to mature, and that they can be edited in the
further process. If there is time, a follow-up question can be asked: What
problems does the product/service/business solve for the target group.
Quest ion 2: What problems does the company have?
Mention some clear problems/challenges the company faces associated
with its business operation, product and/or service, internally within the
company, and externally in the market. Start with a, then b:
a) Internal issues/challenges (resources, expertise, product, finances,
culture, etc.)
b) External problems/challenges (external communication, market,
competition, visibility, etc.)
Use the same process as described in question above. Each particip ant
answers individually on their own paper.
) Each participant writes down as many internal problems as they
can think of, and ticks the most important one.
) Each participant reads out the most important internal problem.
) The chairperson lists the most important problems on flip chart sheets.
) Everyone goes up and puts a Post-it note on, or underlines, the
problem they consider most important.
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
.. Purpose of initial
workshop
.. Workshop preparation
.. Workshop invit ation
.. Workshop facilit ies
.. Workshop
management
.. Workshop execut ion
.. Workshop report
.. Workshop process
Further reading
The Workshop Book (2016)
by Pamela Hamilt on.
Project descript ion
= description of the
project, problem and
project goal.
21
.
) Everyone contributes to the preparation and completion of the
list. The three main problems are highlighted.
) The chairperson lists the main internal problems in order of priority.
) Once internal problems have b een clarified, the process is repeated
in order to clarify external problems.
NOTE: Another option is to bring up all the problems first, and eventually
sort them into internal and external. The results of this exercise provide
good basis for a simple SWOT analysis (.. SWOT analysis).
Question 3
: What is the project goal, level of ambition, and expected
results or impact?
) Use the prioritise d problems from question to answer this question.
) Discuss this across the table: Which of the problems the design
project should help solve?
) Clarify the project goal through new questions or brainstorming.
) Clarify whether or not there are guidelines regarding name, logo,
visual identity or anything else that the designer must take into
account in the project. And discuss what opportunities for possible
changes the project offers.
Project description
A project description is an overview of what a project
should include and why it should be conducted, without
saying anything about how the problem should be solved.
The project description serves as basis for setting up a
progress schedule and a price quotation.
Preparation of a project description is absolutely crucial in the start-up of
a project so that the client and the designer can agree on what the project
should include and why it should be conducted. The project description
is written by the designer based on an initial meeting, workshop and
project brief from the client. Dividing the project into phases makes it
easier to explain the content of the process and provides a good start-
ing point for preparing a price quotation. The task, the designer is to
help solve, must be clearly outlined in the project description. It should
preferably be based on a specific problem clarified in the project brief
or during the initial meeting or workshop. Studies, surveys and strategy
work may be required before the problem statement can be formulated.
The result may have implications for the design process and deliveries
(. Problem statement, . Price quotation).
The project goal and how it is anchored in the overall strategy of
the company should be stated in the project description. It may also
be advantageous to describe the methods that are going to be used
for measuring results. For example, if one is to measure whether the
project has led to increased knowledge, it will be necessar y to measure
knowledge both before and after project completion in order to compare
results.
Tips for the designer
Remember to enter the title
and number on the flip chart
sheets. Take photos of them
for the record. It may be a
good idea to keep them. You
can hang them on the wall or
lay them on the floor, st and on
them and walk on them, while
you work on processing t he
contents and write the report.
Tips for the client
Sustainability considerations
should be t aken from t he
project launch. Read more in
6.9 Sustainable management .
A project descript ion is
an overview of what the
project should include
and why it should be
conducted, wi thout
delving into how the
project should be solved.
(Eby, 2021)
22
Project description outline
The content of the project description of a design project will vary
for different projects. Here is an example of an outline that can be
used as a disposition.
Project title: Work title of the project. Date.
Introduct ion: Company name and contact person. Design team
and contact details. Brief explanation of why the designer was
contacted, and what meetings and activities have been car-
ried out.
Overview: Explanation of the project and tasks to be carrie d out.
About the company: Brief description of the company, their prod-
uct or service, and their current situation.
Project justification: Explanation of what the problem or oppor-
tunity is and why the project is necessary.
Strategic basis: Connection to the main goal and strategy of the
company.
Goals: Define one or more project goals. A project goal should be
S.M.A.R.T.: specific, measurable, achieveable, relevant, time-bond
(.. Measurable goals: Smart-goal).
Project plan: Divide the project into phases according to the
nature, needs, scope and timeframe of the project. Include
proposals for research, strategy development, creative pro-
cesses, design deliverables, implementation, etc., as well as
description of the desired outcome for each phase. Explain your
methodology, any key technologies or project management
techniques you will use and why they are needed (Eby /
smartsheet.com).
Progress schedule: Outline the timeline for each phase, including
the basic tasks that you will accomplish, with start and end dates.
Include meetings, presentations, partial deliveries and milestones
up until the final delivery date.
Deliverables: Identify the project deliverables.
Metrics for evaluating: Include the metrics you will use to measure
and evaluate the project’s success.
Estimated budget
: Include the budget, price estimate or quota-
tion for the entire project or part of it, preferably specified for
each phase.
Reservations: Make reservations about changes to deliverables,
phases and content of work after research activities and strategy
processes have been completed. Clarify payment terms and other
conditions.
If the content, framework, and scope of the task have not been
sufficiently clarified, reservations should be made for any changes to
the process and budget. If necessary, the project description can be
adjusted during the project in collaboration with the client, and sup-
plemented with a design brief defining what tasks are to be carried out
in the design phase (. Design brief ).
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
A strong project
description provides a
roadmap for st akehold-
ers and communicates
the vision without get-
ting bogged down in
details. (Eby, 2021)
23
. Progress schedule
The progress schedule follows the project description
and is a management tool to get a good flow in the work
process, and ensure timely delivery.
At the beginning of a project, it is always necessary to create a progress
schedule, regardless of the time frame or scope of the project. The
progress schedule is prepared by the designer and presented to the
client along with the project description and budget. The purpose of a
progress schedule is to obtain an overview of the work to be carried out,
and to create a schedule that ensures continuity and progress in the
project up to the delivery deadline. The progress schedule also provides
a good indication of the resources needed in the various project phases
and is a good starting point for allocating tasks and responsibilities.
An ambitious timetable is an advantage for getting the project
off to a good start, but progress should be realistic, and sufficient time
should be allocated for the proper implementation of various parts of
the project. In order for the progress schedule to be of any significance,
it must be followed up and adjusted in the event of changes or delays
along the way, which is usually the responsibility of the project leader.
The progress schedule should therefore be easy to supplement and
update. Using digital solutions to create a progress schedule can make
it easy to update, share and interact with it. There are lots of different
tools online, tailored to various needs for planning and scheduling. The
progress schedule may be made simple or detailed depending on the
complexity of the project, and the number of people involved. It may be
limited to a simple time schedule or may take the form of a project plan
with an overview of tasks, highlighting of interim milestones, partial
deliveries and distribution of responsibilities.
When preparing a progress schedule, it should be structured in
line with the phases set out in the project description in order to ensure
good synchronisation. It should be stated how the various tasks in the
project are emphasised in relation to the allocated time and resources.
How the designer emphasises and prioritises resources in the progress
schedule can show the client how the designer has understood the task,
and whether the designer is qualified to do it. For example, if the designer
has set aside of the time for strategy, and the rest for design, even
though it is stated in the project brief that strategy development should
be emphasised, this may at worst indicate that the designer does not have
a realistic relationship to the use of time and resources in the project.
A good method of scheduling time in a project is to start with the
delivery deadline and calculate backwards, just as one does when plan-
ning a flight, starting with the departure time, calculating when to be at
the gate, when to leave home, and so on. Time and the use of resources
set out in the progress schedule should be consistent with the allocated
time and resources defined in the price quotation. For example, if in
the progress schedule only one day is set aside for field research while
in the price quotation it is budgeted for one week, there will be a clear
discrepancy (. Price quotation).
Fig. . The figure shows an
example of a G antt char t,
which is a t ype of column or
bar chart . There are many
varieties. The chart illust rates
the start and end time dates of
the various t asks in a project
and shows an overview of t he
entire projec t.
Example progress
schedule outline
Introduct ion:
– Project name
– Date
– Brief description of the
project, or reference t o
the project description.
Chart:
– Timet able
– Tasks
– Distribution of
responsibilities
– Priorit ies
– Presen tati ons/meetings
– Partial deliveries
– Product ion
– Final deadline
24
—
—
—
—
—
—
—
—
—
—
—
—
—
—
Initial meeting
Interviews/surveys
Strategic workshop
Strategy meeting
Creative workshop
Presentation ideas
Presentation sketches
Presentation solution
Adjustments
Print house meeting
Printing
Delivery
Initiation
Project description
Insight
Situational study
Problem statement
Surveys
Analyses
Strategy
Overall strategy
Objective/goals
Brand strategy
Comm. strategy
Design strategy
Design
Concept developm.
Design sketches
Focus group
Concrete design
Production
Implementation
Print ing
Management
Profile manual
Week number 12 14 16 18 20 22 24 26
Progress Remaining
Fig. . Gantt chart
Progress schedule outline: There are many ways to draw up a progress
schedule: Here, the designer has the opportunity to use their creative
abilities to prepare a visual, structured and navigable schedule. A Gantt
chart is a visual, transparent and effective method for drawing up a
progress schedule, and it is also well suited as a project management
tool; see Figure .. Here, it is important to bear in mind that the time
spent on drawing up the progress schedule should be proportional to
the scope of the project. Regardless, finding a suitable digital schedule
template online might be a good start, where you can also get an idea
for a good setup if you want to make your own version.
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
25
. Price quotation
Price quotations are the designer’s price proposal to the
client used as basis for negotiating the final pricing of a
project or service. The quotation estimates the use of
time and resources and defines applicable payment terms
and conditions. In case of quotations in procurements,
pre-defined assumptions and frameworks usually apply.
The price quotation is prepared after the designer and the client have
clarified the project during an initial meeting or workshop. The price
quotation is often based on a project description and progress schedule
and shows the price of the various phases and tasks of the project based
on estimated time and resource use. The quotation should show the
terms and conditions set by the designer. A price quotation signed by the
client may serve as a work agreement, but it is recommended to sign a
work contract in addition in order to address areas of interest other than
those related to the price quotation. Once approved, the price quotation
helps create predictability for both parties in the work relationship.
Having too little information at the beginning of the project is
not uncommon, which means that it may be difficult to calculate the
price and provide a binding quotation. In that case, a good alternative
Tips for the designer
When you receive an inquiry, there are a number of questions
you should take into account before preparing a price quotation:
–
Do you understand the project? What is important? What is
unclear? Ask questions!
– What is the client’s experience of purchasing design services?
–
What is the scope of the assignment in terms of time and resource
use? Is it realistic for you to take on the assignment? Do you have
the capacity, time, expertise and desire to do so?
–
How important is it to you to get the assignment? Does the assign-
ment give any opportunity for additional sales and good references?
– Are there any other designers that have been approached?
–
Is it a competition? Do you have the capacity to participate? What
are the criteria? Do you get paid to participate?
–
Do you need to invest time to get the assignment, or can you
charge from start-up?
– Is the fee amount set? Is it proportional to the workload?
–
Does the client expect you to submit a quotation for the entire
project? Is it sufficient to prepare a price estimate or budget?
– What are the client’s creditworthiness and ability to pay like?
– What terms and conditions should you set?
–
Consider whether the task is in conflict with your own beliefs, such
as environmental considerations, equality, politics, fair trade, etc.
–
Is the project sustainable for you, i.e. is the payment proportionate
to effort and time spent?
Tips for the designer
Wait until t he assignment
has been clarified to prepare
price quot ations for design
work and production. Instead,
give a price for a workshop
or preliminary project t o
investigate t he assignment.
Result s from initial investiga-
tions and strat egy work may
oft en lead to changes in the
design project beyond what
was originally int ended.
26
Price quotation template
Main page:
Client: Name of client/company: Document type: Price quotation.
Sender: Name, business name and logo. Project: Name of project.
Highlighted.
Introduct ion:
Designer/Design agency: Brief information about us and why we
have been chosen.
Design team: Names and roles. Project leader and contact person.
Client: Brief information about the company, product/service.
Project group: Names and roles. Project leader, decision-maker
and contact person.
Background: Brief description of the company, current situation
and the challenges or needs that have prompted the initiation of
the project.
Project description
: Summary of the project description. The
project description may be attached or integrated fully.
Price quotation: Price quotations are prepared according to the
phases in the project description. It should be made clear which
tasks are included in each phase, without going into too much
detail. An amount is set for each task in the phase, possibly only
one amount for the entire phase.
Explanation of the price quotation: For example: The budget is
prepared based on the phases in the project description.
VAT: VAT (or GST) is added to the final amount if you are subject
to VAT.
Confirmation/agreement/contract: Signature on the price quota-
tion, or written confirmation by email, is to be considered a binding
agreement. In case of larger projects, a contract should be drawn
up and signed before project start.
Progress schedule: The progress schedule is included in or
attached to the project description, and the price quotation.
Note: Price quotations for small projects can be simplified.
is to price some of the services separately, such as initial workshop, a
preliminary project, individual studies, necessary strateg y development
or consulting, and postpone preparing a full quotation until the scope
and framework of the project are more clearly defined. If the client
nevertheless wants a price quotation for the entire project, the designer
may propose preparing a price estimate or budget. Such a suggested
price can provide the client with an indication of the total costs to assess
in relation to its own cost framework and makes it possible to compare
prices if there are other providers in the picture. If a price estimate is
provided, the price may not significantly exceed the specified amount.
However, this does not apply if another price limit is expressly agreed,
or the designer is entitled to a surcharge for additional work, extra
materials or other unforeseen circumstances.
It is important that the designer has understood the client’s level
of ambition for the project as a starting point for assessing the scope
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
.. Price request
.. Price setup
.. Terms and conditions
.. Negotiation
.. Hourly rate
27
and size of the project. The same applies to the client’s ability to pay.
For example, creating a new logo for a bank will be a larger and more
comprehensive process than creating a logo for a small business, because
designing a new logo/visual identity for a bank is likely to require more
extensive research and strategies, more extensive design process with
more idea concepts and sketching rounds, more meetings with more
decision-makers, and so on (. Project description).
.. Price request
The client is often concerned with price, which can also be a decisive
factor for the client’s choice of designer. Therefore, it can be tempting
for the designer to propose a price quickly in order to get the assign-
ment. Rather than rush, it may be wise to explain to the client that it is
necessary to acquaint yourself properly with the nature of the project in
order to submit a realistic quotation. A good approach for the designer
is to give a price at an initial workshop in the first place and come back
with a quotation once the scope of the project has been clarified. Many
clients have little experience in buying design services and knowing little
about what to expect in terms of price, result and quality. Therefore,
it is important that the designer provides information about what a
design process entails, what is required in terms of time and resources
for creating good results, and how the process itself can be instructive
for the parties involved (. Progress schedule).
.. Price setup
There are infinitely many ways to set up a quotation. How detailed
the price quotation is to be, must be considered in the context of the
nature, scope and level of ambition of the project. The quotation may be
preceded by a summary of the project description and conclude d with a
short version of the progress schedule. A goo d alternative is to provide a
project description, price quotation and progress schedule together. The
price quotation can be set up in phases, with a brief description of each
phase, and the tasks involved in each phase. An aggregate sum should
appear for each phase, with an aggregate sum at the end. In larger project
meetings, project management and reporting should be specified for
each phase. The number of phases may vary. The same applies to what
one chooses to call the phases, how detailed the price specification in
each phase should be and whether a specification of hours should be
provided. The most important thing is that the client understands what
the phases entail, and what they cost, besides the project’s conditions
being met. If adjustments are made to the quotation, the front page
should state that it has been revised, its version and date.
.. Terms and conditions
Terms and conditions should be stated in the introduction or at the
end of the quotation.
Conditions should describe what requirements are made for the
maturity of the invoice, collection requirements, the validity of the price
Tips for the designer
You should consider declin-
ing a project with unrealistic
framework and assumpt ions
rather than risking delivering
something that you will not be
proud of.
28
quotation, etc., and what is not included in the price. There should not
be too much surcharge in the price. The client should normally have as
much predictability as possible. Here are examples of how conditions
can be formulated: All prices exclude VAT, shipping, travel, production,
printing. Purchase, rental, or development of an illustration or photo is
not included. Purchase of fonts, dummy development, continuous costs
for materials and tools, or other unforeseen expenses are not included.
Phase is invoiced when the project is assigned. Furthermore, of
each phase is invoiced at the start of the phase in question, and the
remaining is invoiced at the end of the phase. Invoices fall due with
days’ notice. We reserve the right to adjust the price quotation in case
of changes/additions to the agreed starting point. Work and meetings
outside the budget are invoiced by the hour. Strategic advice is calculated
by the hour at fixed hourly rates. Budget meetings are up to two hours
long. The price quotation includes two rounds of editing/proofreading;
additional editing entails a price surcharge. We will keep you posted on
any additional costs for the prices to be approved in advance. The price
quotation is valid for four weeks from this date.
Terms apply to circumstances under which one wishes to make
reservations or insure against. Here are examples of how the terms/
reservations can be formulated: We reserve the right to adjust the
prices for phases , and when the scope and basis for the work has
been clarified in more detail. Revised quotations for these phases will be
prepared after the strategic process has been completed. We reserve
the right to ownership of all work undertaken until payment is received
as per agreement. Please also refer to the signed contract (. Contract).
.. Negotiation
If the designer and the client disagree on the price, they can negotiate
in order to reach a joint decision or agreement. It is important for both
parties to listen and ask questions in order to understand the other
party’s position. If the negotiations become too demanding, or the
parties fail to reach agreement, there may be no further collaboration.
In some cases, it may be an advantage to seek legal advice in order to
ensure that both interests are best served.
.. Hourly rat e
Most designers use their hourly rate to calculate a price or quotation. The
hourly rate is calculated mainly on the basis of the designer’s or design
agency’s production costs, which cover salaries, overheads and estimated
profit. Fixed costs such as premises, equipment, software and other operat -
ing costs are usually higher for a larger design agency than for an individual
freelancer, which will affect the hourly rate calculation. Furthermore, an
experienced designer or a profiled design agency will often be able to charge
more for their services, based on reputation and demand. Other factors
that matter are competence, efficiency as well as the designer’s ability to
negotiate good terms by conveying the value of their services. An example
of that is the value of a logo. Rated as a piece of graphic work, it will have
lower value than if it is rated by virtue of its brand value and scope of use.
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
.. Price request
.. Price setup
.. Terms and conditions
.. Negotiation
.. Hourly rate
Invoice
Invoice/bill is a sales
document. Invoice
number, invoice date,
buyer’s name/address,
seller’s name/company
reg. number, description
of t he goods, specified
price + VAT if applicable,
and due date are added
to t he bill.
29
Terminology
Price: Price is a payment for output or service. The use of the
phrase ‘price’ signals that there is a price without specific basis
for negotiation, as opposed to wordings such as price quotation
or suggested price, which leave room for negotiation. The agreed
price and the invoice sent to the client after the project has been
completed must be consistent. Make reservations.
Price quot ation: Using the wording ‘quotation’ may signal that the
price implies a price reduction or discount, which makes acceptance
of the price more attractive.
Price suggest ion: Using the phrase suggested price or price estimate,
you clearly state that prices are an indication of what it may cost. It
can be useful when the pricing basis has not been defined, such as
when the scope (number of pages and level of detail) of a web page
or brochure has not been determined. This will affect both the price
of design and production (programming/printing).
Draf t price
: When using the wording ‘draft price’ or ‘price estimate’,
to a great extent you open negotiations. When drawing up a price
estimate, it is important to make the necessary reservations pro-
vided that the price is not to be perceived as binding.
Budget: A plan to show how much money a person or organisation
will earn and how much they will need or be able to spend (Budget,
n.d.). Budget in a design assignment means that you prepare a
statement of expected costs related to the design project over a
specific period. The purpose of a budget specification is for the
client to get an overview of the costs associated with your ser vices
and to implement it in its business budget. State clearly whether the
prices in the budget are merely an indication or estimate and make
the necessary reservations about changes and any additions to the
price. If relevant, you can call the budget provisional (Sending, ).
Budget estimate
: Temporarily calculated budget. When preparing
a price estimate it is important to take necessary precautions if the
price is not supposed to be experienced as binding.
Tender: Tenders are offers in connection with a procurement.
Pursuant to public procurement regulations, tendering is required
for procurements above a certain threshold. In a procurement,
negotiating the tender or amending it after the closing date for
submission of tenders is prohibited. Sometimes tenders are com-
monly referred to as a price offer.
Dispute: If the parties fail to reach an agreement, the matter may
be referred to the Conciliation Board or to the Consumer Council.
VAT: It is common to specify a price on design services exclusive of
VAT (or GST).
Design projects are usually BB, i.e., the designer
sells their services to businesses and not consumers. Companies
liable for VAT re ceive VAT refunds on incoming invoices. Therefore,
it is the price without VAT that is the amount they actually pay. VAT
is calculated as a percentage of the price and added to the invoice.
Invoice
: VAT or GST number and company registration number
are added to the bill.
Tips for the client
Pushing the price too much
might compromise the quality
of the product you receive.
The price reflect s the time
the designer estimates for
project complet ion. If rel-
evant, you can negotiate the
hourly rat e, or reduce the
scope and level of ambi tion of
the project , which can mean
fewer sketches, fewer meet-
ings, etc.
VAT vs. GST: ‘VAT stands
for Value Added Tax and it is a
consumption t ax applied to
the purchase price of goods
and services. GST st ands for
Goods and Services Tax and it
is a consumpt ion tax that is
imposed upon the cos t of
goods and ser vices. Both GST
and VAT are taxes that share
the same characteristic s but
have different names. The only
differences bet ween these
taxe s derive from the specific
rules t hat each country apply
on the t axes themselves such
as: t ax rates, it ems exempt
from t ax and the requirements
of regist ration’ (Global VAT
Compliance, globalvatcompli-
ance.com)
Professional organisat ions
for designers, such as
AIGA (The American Inst itut e
of Graphic Arts), ICoD (Inter-
national Council of Design),
GDC (Society of Graphic
Designers of Canada), Design
Council of UK, as well as simi-
lar associations in other coun-
tries, provide advice and
guides to copyright, as well as
st andard forms of agreements
that may also be available
online i.e. ‘AIGA St andard
Form of Agreement for Design
Services’.
Competi tion Act or compet i-
tion Law is a general term used
relatively s imilar in different
countrie s for a law that pro-
motes or seeks to maintain
market compet ition by regul at-
ing anti- competit ive conduct
by companies. Taylor, Martyn
D. (). Competition law is
implemented t hrough public
and private en forcement.
(Cart el Damage Claims, C DC).
30
Supply, demand and market price are factors affecting the value
of most goods and services, including design services. D esign services
are among the services that are generally sensitive to market economy
fluctuations, where a decline in the market economy may result in
less willingness to pay compared to when business is doing well. That
is an example of why designers can experience great competition
and price pressure at times, and one may feel pressured to lower the
price. The designer should avoid offering too low a price, as this might
contribute to giving buyers of design services an incorrect picture of
what a design service should cost and what quality to expect. Price and
quality are interconnected. Creating good quality work requires time
and resources. In order to maintain a proper price level and ensure the
quality of the design deliverables, it is important for the designer to
maintain a correct hourly rate, and instead propose to reduce the scope
or level of ambition of the projects in question, than lower the hourly
rate. Dumping price levels is also an ethical matter, a responsibility
towards our own industry.
Calculating your hourly rate.
a) Salary: The annual or monthly income the designer must
calculate for housing, eating and leisure.
b) Operating expenses: Fixed expenses related to premises,
equipment, software, materials, etc.
c) Profit: The surplus that remains when salary and expenses
are paid.
Divide the sum by the number of working hours in the year that
are billable. The result is your hourly rate.
It can be difficult for established as well as for recently graduated design -
ers to know what they should charge. Some choose to ask others what
they charge or leave it up to the negotiations in each individual project.
Many look for indicative hourly rates for design services, but this could
hinder free competition under the Competition Act. Nevertheless, a
good indicator may be to use salary surveys c onducted by stakeholders
for different design professionals as a basis.
The hourly rate can also easily be calculated by making an overview
of what you actually need to cover: salary, expenses and get an acceptable
profit. There are various price calculators online, which can be helpful.
. Contract
A signed contract is a good starting point for predictable
designer-client collaboration.
First and foremost, a contract helps safeguard the legal rights of both
parties in the event of disagreement. What should be included in the
contract may vary depending on the project.
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaborat ion
31
.
A contract addresses issues related to the delivery that ha s been agreed
on and the conditions that apply in the event of changes. ‘A well-written
agreement clarifies expectations, prevents common misunderstand-
ings, and helps avoid potential legal problems’ (Aiga Standard Form of
Agreement for Design Services ). Here are some key factors that
should be included in a contract between the designer and the client:
The parties: Name and data of both parties of the agreement.
Delivery
: Specific description of what the assignment concerns and
what is to be delivered. Consequences concerning a change in delivery,
resulting in additional or reduced work for the designer. Consequences
if the designer does not deliver as per agreement.
Price: Specific description of the agreed price, VAT (or GST), payment
deadline, late payment claims, conditions for additional work for the
designer, unforeseen costs and other payment terms.
Deadline for delivery: Specific description of the time of delivery. Con-
sequences of changes in delivery deadline by the client, or delayed
delivery by the designer.
Complaints
: Specific description of the criteria applicable to a complaint
about the designer’s work and consequences thereof.
Legal ownership: Specific description of the legal ownership of the final
product. The designer’s rights under the Copyright Act are clarified,
and any transfer of ownership to the client is confirmed.
Dutie s and responsibilitie s
: Specific description of the duties and respon-
sibilities of both parties.
Disputes
: Specific description of the circumstances of a dispute, and
how the parties are to proceed in order to resolve the dispute.
Signing
: Both parties sign two copies of the contract, one for each party.
Team collaboration
In a design project, assembling a team with the right quali-
fications is a success factor, as well as embracing diversity
and differences.
It is crucial to create a good working environment in the team, and help
make each other better, so that everyone can unlock their greatest poten-
tial. It is just as important to establish an open and trustful collaboration
with the client. Good team dynamics and a common level of ambition are
required for a group of people to function well and essential for the quality
of the results that can be achieved together. A prerequisite is careful goal
formulation and planning, as well as a conscious allocation of responsi-
bilities and quality assurance during the various phases of the project.
A design project can be complete d by one person alone, or it can be
carried out by several people in collaboration. Working together can have
many advantages, including bringing more expertise, views and ideas to
the project. Assembling a good project team is first and foremost about
ensuring that the right qualifications are represented among the project
participants. These qualifications may be present within the design
agency, school environment or one’s workplace, but they may also be
Tips for the designer
You should avoid working for
free to qualify for a design
assignment. If sketches are
needed at an early stage you
might argue that insight is
necessary to create some-
thing of value. Suggest an
init ial workshop as a st art.
It can provide some insight
and str ategic anchoring. You
might also suggest an initial
quote for the workshop
and sketches. Get a written
confirmation of what you have
agreed on and at best sign a
contr act .
AIGA (The American Inst i-
tut e of Graphic Arts) is a pro-
fessional organisat ion for
design, including communica-
tion design, including graphic
design, typography, interac-
tion design, user-experience,
branding and identi ty.
A copyright Act is the body
of law t hat governs t he pro-
tec tion of t he ownership and
usage rights for creative
works including works of art
and books, among other types
of media. Each count ry has its
own domest ic copyright laws
that apply to it s own citizens,
and also to t he use of foreign
content when used in one’s
country (copyrightlaws.com).
‘How Diverse Teams Pro-
duce Better Outcomes’,
Beilock , Forbes
‘Diversity wins’ is one of
three repor ts from McKinsey
investigating t he business
case for diversity.
32
acquired externally. Project teams that gather together to complete a
task may be people who know each other well and have good experienc e
of working together, or they may be people with little to no knowledge of
each other. Some may initially feel unsafe working with people they do
not know, while others may experience this as inspiring and motivating.
Either way, it is a good start to begin a team collaboration by creating
predictable and secure relationships, with a high degree of trust and
empathy. A good team collaboration will also have a positive effect on
the relationship with the client. Inviting the client to collaborate in the
project can be beneficial as well. By involving the client in the project work
it might be it easier to speak together about ideas and the client will more
easily stand behind the solution that is promoted. As a consequence,
it will also simplify the implementation of the solution in the company.
Inclusive and diverse
How do we define who the right people are when assembling a team?
Having the right team of people to help generate ideas to propose is
critical. Studies show that a diverse selection of people in a team can
be more successful. ‘From the classroom and the workplace, to the
laboratory and the playing field, research shows that diverse groups of
people often make better decisions’ (Beilock , Forbes). According
to studies conducted by McKinsey, being inclusive and assembling a
team with diversity can be an essential factor in achieving a successful
project delivery, as it has been proven that diverse teams produce better
outcomes. We also see such an effect on a company’s management, where
there is a relationship between diversity on executive teams and the likeli-
hood of financial outperformance (Dixon-Fyle et al., , McKinsey).
Qualifications
When starting to build a team, getting to know each other’s skills and
work experience will always be a good start. It is important to allocate
plenty of time for this so that everyone can get an idea of what opportu-
nities the competence of the others provide. It will also serve as a good
foundation for building respect and trust. In addition to professional
knowledge, there are several responsibilities or roles to be distributed
within a team. These include fixed roles such as project leader and the
minute taker, and more specific roles such as creative manager, strategic
manager, etc., depending on the nature of the project. In large projects,
the project team may be able to handle tasks such as writing reports and
sending meeting invitations outside the group, but usually the project
staff themselves have to allocate these tasks and responsibilities among
themselves. A good place to star t could be to talk about the roles needed
in the project and which of these each person feels good about. Are you a
good leader? Are you good at writing reports? Are you good at research
and mapping? Are you good at thinking and getting ideas? Are you
good at leading brainstorming and creative processes? Are you good
at strategic work? Are you tech-savvy and great with digital tools? Are
you good at drawing, shaping, creating? Are you good at manufacturing
techniques and materials? Are you good at quality assurance, etc? The
point is not just to do what you are good at. A good start would be to
map out the different qualities of the group. This can simplify the work
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
.. Control loop
.. Gameplan
.. Agile process
management
–
Inclusive and diverse
–
Qualifications
–
Level of ambit ion
–
Goals and tasks
Further reading
101 Team Building Exercises:
To Improve Cooperation and
Communication (2020) by
Mr. Herman Ott en.
33
on planning how the roles are to be distributed within the group. One
person is often suitable for several roles. Roles can also go hand in hand,
although in a design agency it is most common for individual project
participants to deliver on their top expertise.
Level of ambition
Each person’s level of ambition is another important aspect to clarify
when assembling the group. Level of ambition in this context means how
much time and resources you want to put into the project. It is about the
personal goals you have in the project, what you envisage that you can
contribute, and what significance the result has for you. This depends
on the effort you want to put in. Some will stretch a little extra to achieve
the best possible result, while others may be satisfied if it is goo d enough.
In those projects where each person is paid according to effort, it can
create a good balance. This is not always the case in projects where
profits should be shared equally, or in a school setting where everyone
in the group gets the same grade, or if your salary enters your account
every month regardless of effort. Having differing levels of ambition in
a group can lead to collaboration problems, because some may feel they
work more than others. Often you have no options to choose from. The
group is what it is. In other words, you are put in a group. Group members
might not only have different levels of ambition, but also different levels
of energy. Some function on high gear, others on low gear.
People are different, and having a high level of ambition is not
necessarily the same as sitting and working until : in the morning. It
may as well be working within normal work sessions, but with the right
work methodology, high concentration, and good workflow. If you have
the opportunity to put together people with roughly the same level of
ambition, it can be a success factor, where everyone is equally eager and
will do their best. In school projects and in job contexts where groups are
put together by others, doing so is not always possible. It is about finding
a way to work together that creates security, where people do each other
good, and which allows everyone, regardless of their level of ambition and
qualifications, to contribute as much as possible. It is about tolerance,
openness and security. These are qualities that are necessary in all col-
laborative projects, and especially in projects where you put in a lot of
yourself, as well as in creative projects where exchanging and building
on each other’s thoughts and ideas is essential. In addition to the level
of personal ambition, we have the client’s level of ambition. Deadlines
and cost framework do not always allow the project team to develop the
‘perfect solution’. The group should discuss early whether it is realistic
to complete the project within the given time frame and budget. One
possible approach is to reduce the number of design sketches or suggest
a higher price and deadline extension.
Goals and tasks
Goals and level of ambition go hand in hand. In a collaboration, it is always
important to clarify early on what people should collaborate on. What is
the goal and which problem needs to be addressed? In some projects,
the goals and tasks have been clarified by the project owner, who can
also be the client. In other projects, this is something the project team
Fig. . The figure shows a
control loop, a projec t man-
agement tool based on West-
hagen (). Goal
formulation: Decide and
describe what t he project will
result in. Planning: Break down
the goals int o elements, which
can ensure t hat we perform
the t ask expediently. Execu-
tion: Management, communi-
cation, re source use, team,
motivat ion. Follow-up: Record
what is happening in t he pro-
ject and compare wit h plan
and goals. Man age necess ary
corrections in goals, planning
and execution.
Walk the t alk:11 It is OK
to fail. It is OK to have
ambitions. What you
pay att ention to grows.
Leave your comfort
zone. It is OK to fail. It is
OK to have ambitions.
What you pay att ention
to grows. Leave your
comfort zone.
The phrase ‘Walk-the-Talk’
means putt ing words into
action, i.e. implement in
practice the t hings you say
you will do.
34
needs to work on in order to establish. The project may have one main
goal and several subgoals, or the project may be divided into several tasks
and responsibilities. In any case, it is important for group dynamics and
collaboration to move more or less in the same direction, towards a clear
and well-defined goal (. Goals and subgoals). The proje ct leader has a
central role in leading the group, but it is the individual’s responsibility to
lead themselves. Once the meter is in place, the planning and distribution
of work tasks can begin. It is through the tasks that the execution of the
project takes place. The project leader must ensure that the tasks are
evenly distributed and that everyone has a relevant task to complete.
One problem that can arise here is that activities are often based on each
other, as a result of which not everyone will have the same amount of work
at the same time. A pitfall may be that the project leader is tempted to
start activities before the prerequisites are available, which may result
in additional work by having to redo the work. Follow-up and quality
control are important in all project phases, right up to the delivery of
the completed solution, to ensure that the achieved result complies with
the goal. A good way to do that is to define checkpoints as part of the
project plan so that any non-compliances or errors can be followed up
along the way and adjusted at an early stage (.. Workflow).
Goal Corrections
Progress
Plan
Input factors Result
GOAL FORMULATION
EXECUTION
(control object)
PLANNING FOLLOW-UP
Fig. . Control loop
.. Control loop
Westhagen’s control loop (Westhagen et al., , p. , Wiik ) is a
good management tool for project planning and follow-up. It contains
four main elements in a circular process. These are goal formulation,
planning, execution and follow-up, see Figure .. Goal formulation is
about describing the project deliverables and what the project should
result in. Planning is about outlining what should be done in the project,
and the activities needed to create the project deliverables. Execution
is about implementation. Follow-up is about, among other things, fre-
quently following up and correcting the implementation. Sometimes
you have to change your plans. This may involve adding more resources
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
.. Control loop
.. Gameplan
.. Agile process
management
–
Inclusive and diverse
–
Qualifications
–
Level of ambit ion
–
Goals and tasks
35
and working more efficiently. Other times it is necessary to change the
project deliverables and thus change the goal formulation. The term
loop indicates that we must go through this loop many times during a
project. Every time we follow up on a project, we usually have to go in and
correct something. Projects do not have a static implementation plan
but are carried out dynamically. This is also called agile implementation
(.. Iterative method, .. Lean and agile).
Progress schedule: Initially, create a progress schedule, which includes
all work phases. The progress plan could be updated in the event of
delays. Where schedules fall short, it is important to put in extra effort
and make up for the lost time. Lagging behind wears everyone down. All
experience suggests that you need all the time you can get in the end
(. Progress schedule).
Collaborat ion agreement : Being well-organised and preparing an agree-
ment at the beginning where, among other things, the goals of the col-
laboration are described will be a good resourc e for the rest of the project.
Such an agreement should contain some information on mutual expecta-
tions between the participants, level of ambition in relation to the project
input, ‘traffic rules’ for roles, responsibilities and division of labour.
Planning of meetings: The project leader should prepare a plan before
each meeting and a goal for what is to be accomplished during the
meeting. Before a meeting, clarify to everyone in the group what should
happen and sum up at the end of the meeting to see if everyone has
done what they intended to. Writing logs and meeting minutes is good
project management.
Common met hods:
A good way to bring the group together is to agree on
common methods. ‘If the project staff do not work according to common
methods, but according to their own individual arrangements, this can
weaken the collaboration in the project, and reduce the opportunity for
exchange of experience. The project leader’s freedom of action could b e
reduced, and it becomes difficult to transfer pe ople from one project activ-
ity to another’ (Andersen et al. ) (see also . Design methodolog y).
Sust ainable principles
: Make sure to identify a set of common principles
for sustainability, to ensure diversity and equality in the collaboration,
as well as common attitudes, ethics and values for sustainable processes
and solutions (.. Sustainability goals: Oslo Manifesto, . Sustainable
management).
Group climate: The work environment in a group can have a lot to say
both regarding the professional benefits and the implementation of the
project. How do we communicate? Care, respect, responsibility, and
constructive criticism are important. If everyone has a certain c eiling of
blunders, this improves the climate of collaboration. It is recommended
to allocate time to exchange experiences about the climate and the work
of the group. This way, each member of the group can gain experience
in giving and receiving feedback.
Communication:
Good feedback and constructive criticism can pro-
vide opportunities for awareness-raising and further development.
Positive communication among group members means that everyone
participates, and everyone receives support. Active listening involves
listening attentively to the other(s) and giving a response that shows
that you have understood.
Fig. . The figure shows
gameplan (based on Aakre and
Scharning /The Grove
Consult ants Internat ional).
Gameplan is a dynamic project
management tool t hat the pro-
ject team creates together,
manually or online by for
example using Virt ual Strat e-
gic Visioning Templates Pack
– Digit al Download,
grovetools- inc.com.
© Grimsgaard, W. ()
Miro board: miro.com.
Grove Tools: grovetools-inc.
com, thegrove.com. Figma:
figma.com. Padlet s: padlet.com
36
Project
description
Gameplan
Individual
goals
The team Project progress
Name:
Role:
Name:
Role:
Name:
Role:
Name:
Role:
Name:
Role:
Network
P
r
o
c
e
s
s
g
o
a
l
P
r
o
j
e
c
t
g
o
a
l
Game rules
SWOT
of the team Quality assurance:
S W
O T
Success criteria:
Challenges:
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
.. Control loop
.. Gameplan
.. Agile process
management
Fig. . Gameplan
Work visually: Use flip charts, mapping methods, images, and sketches
in the process. This simplifies the transfer from strategy to visual solu-
tions (. Mapping).
.. Gameplan
Gameplan is a tool for mapping and planning a project. ‘The purpose of
the tool is to provide the team with a solid common basis for starting the
actual work on the project. When the gameplan is completed, everyone
should know who does what, when, how and why. The gameplan makes
it easy for everyone to keep track of things along the way as the plan is
updated daily. The overview also works well as a checklist to keep an eye
on whether everyone is working towards the right goals, cooperating
well and having the desired momentum’ (Aakre and Scharning ,
The Grove Consultants International). The project team can design
a physical gameplan or a digital version using a platform suited for
interactions, planning, workshop and co-creation, e.g. Miro board, Grove
Tools, Figma, or Padlet.
1) St art by laying out a roll of paper or a large sheet/poster that you will
use to draw and fill in the items, or choose any online gameplan tool.
When working with gameplan, one can work digitally or with pen and
paper. There are digital game plan tools that make this process seamless
A good work environmen t
in the group is a success
fact or for good r esults.
37
(good tools are often free), and the principle of the pro cess is the same.
One option is Grove Tools.
2) Project description: Start by entering a concise and precise version
of the project description/problem you will be working on, in the upper
right corner of the gameplan, see Figure . (. Project description).
3) Project progress
: Define the name, time frame and order of the phases
you will be going through in the project. Enter the name of the phases
in the top fields of the project progress (action plan). After that, fill in
the different tasks belonging to the different phases. You may want to
prioritise the order and importance of the tasks. Use Post-it notes for
this section since you are likely to change and move the notes during
the project (. Progress schedule).
4) SWOT anal ysis:
Identify each person in the team (for example in terms
of competence and personality) using a SWOT analysis. Summarise
each individual SWOT into a common team-SWOT, which is registered
on the gameplan (.. SWOT analysis).
5) Roles: Define the different roles and responsibilities that are neces-
sary to cover in the project and team, and give the roles appropriate
names/titles. Identify the tasks that should be assigned to each role.
Distribute the roles (according to each person’s competence, desires,
and motivation). Also, discuss your expectations of each other and the
project in relation to your roles.
6) Goals:
Define specific goals for the project (project goals), the team pro-
cess (process goals) and individual learning (learning goals). Fill in the goals
overview on the right of the tool template (.. Goals for design project).
7) Net work: Considering what you need for your project, create a network
map of contributors and contacts that can be used. Enter name, contact
info, and what they can contribute with. Also write down what you may
need and what you must try to obtain through the others’ contacts.
8) Challenges and success factors: Identify critical challenges and suc-
cess factors for the different phases of the project. Be specific about
what to do to secure successful collaboration and project results, and
what to do to prevent and resolve the challenges that may arise.
9) Game rules:
Agree on a set of game rules (procedures, decision tech-
niques, etc.) on how you will cooperate during the project. Use experience
from previous collaborations and how you have worked together so far,
as a basis to identify a good way for you to work together in the project,
to perform, learn, and thrive – individually and as a team.
10) Quality assurance:
Agree on some simple measures/procedures
as to when and how to quality assure the product and collaboration in
each individual phase so that you can develop both along the way (.
Quality assurance).
11) Project leader:
The project leader is responsible for the progress
and finances of the project, and ensures that the project is managed
and delivered according to the goals and requirements agreed with the
client (. Progress schedule, . Price quotation).
12) Process leader: In larger projects, a process leader may be needed
in addition to the project leader. Process management may also refer
to the responsibility of the project leader, or to a task that is done
in turns. Process management is the art of guiding people through
processes toward common goals in a way that supports participation,
‘Gameplan not only helps
your team plan the pro-
ject, but it also helps you
implement and evaluate
the project’ (Aakre and
Scharning 2016).
Grove Tools: grovetools-
inc.com/collections/graphic-
gameplan
38
creates ownership, and triggers creativity for everyone involved. It is all
about quality management and continuous improvement. The process
leader is responsible for creating a room for interaction and discus-
sions where everyone involved is given the opportunity to create new
solutions, acquire new understanding and make decisions. The process
leader plans and directs design processes and actively participates in
all phases of a project, from planning to implementation of the finished
product. The process leader has a key role in interdisciplinary teams,
working with insight, concept development, prototyping and testing.
The process leader is in their element when they can create a vision
and realise it by inspiring, motivating and challenging others when
needed. Self-motivation is strong, and the process leader can mark out
the course and bring others along, even when things are at their worst
(Myhre, ) (. Design management, . Sustainable management).
When presenting your status updates, focus on the process instead
of the people. This way you will make sure that progress is actually
being made (Kanbanize.com).
.. Agile process management
In order to have regular status updates, stand up meetings can be
beneficial. Gameplan can be used as a reference (.. Gameplan).
A stand-up meeting is a short meeting between a team while standing
on their feet, commonly used in agile process management. The goal is
to go over important tasks that have been completed, are in progress
or are about to be started. During the daily meeting each person in the
team, with no exception, must be able to answer fundamental questions
regarding their workflow (kanbanize.com):
– What did I ac complish yesterday?
– What will I do to day?
– What ob stacles, if any, are impeding my progress?
For this type of process management, digital tools such as the Kanban
board are well suited and can be combined with meeting physically. A Kan-
ban board is a physical or digital project management tool for workflow
visualisation. Using a Kanban board, the advice is to schedule a meeting
at the beginning of the workday and aim for a length of – minutes. This
will allow you to sync your plan for the day and avoid mistakes caused by a
lack of communication. When meeting at a Kanban board, it is not neces-
sary for each individual to explain what they have done the day before,
since the progress of each task is visible and only updates are necessary.
For teams that need to visualise their work when meeting, it will be
necessary to set aside more time for the meeting. Either way, keep it short
and within the agreed time. Raise the alarm. In a design project, such
meetings can be a good way to keep up with the progress, but in addition
it will be necessary for the team to gather in workshops, brainstorm-
ings and meetings for ideation and sharing visual mapping, sketches
and design solutions (.. Lean and agile, .. Scrum, .. Kanban).
Initiation
Insight
Strategy
Design
Product ion
Management
. Initial preparations
. Project brief
. Initial meeting
. Initial workshop
. Project description
. Progress schedule
. Price quotation
. Contract
. Team collaboration
.. Control loop
.. Gameplan
.. Agile process
management
Further reading
Agile: An Essential Guide t o
Agile Project Management,
The Kanban Process and Lean
Thinking + A Comprehensive
Guide to Scrum (2018) by
James Edge.
39
Team contract
Without good rules, the chances of frustration and conflict
increase during the project. The purpose of a team contract is to
agree on the rules of the game. Here is an example of a team con-
tract based on Aakre and Scharning (). See also . Contract.
Yes, to differences: Utilise each other’s differences and qualities
as a strength and resource. Respect one another – even when you
have different opinions.
Knowledge s haring
: Challenge each other to take on tasks you are
not entirely confident in, in order to learn something new. Help
each other in that role and in the tasks assigned to you. Ask for
help and help others when someone is stuck. Support each other.
Working hours and workplace
: Meet at scheduled times and
locations. Notify the project leader in case of delay. Schedule the
workday between AM and PM if possible. Be good at making
the work situation more varied. Seek inspiration and impulses
outside the workplace as well.
St and up meet ings
: Have regular status updates. Stand up meet-
ings
can be beneficial, during which you summarise what has
been done, how the team and each and every one of you has
worked, what tasks need to be carried out in the future, and what
changes can be made to the working methods in order for things
to flow even better. Gameplan can be used as a reference .
Feedback: Give each other honest and constructive feedback so
you can grow as much as possible. Most things can be said, if we
say them properly and have a good intention behind it.
Get inspired: Get inspiration by visiting digital platforms such
as SoMe, advanced Google searches, blogs, discussion forums,
etc., as well as different physical environments, watching films,
reading books, magazines, newspapers, etc. that can give us
ideas and insights.
The creative process: Use different processes and methods in the
creative process, so that we get as many different ideas as possible.
All ideas must be explored – even those that are not immediately
perceived as good. L et the person most passionate about an idea
have the opportunity to sell it to the rest of the team and motivate
team members who are more introverted.
Sust ainable man agement :
Talk together about how sustainability
can be included in processes and solutions (.. Sustainability
goals, . Sustainable management).
Guidance
: Quality assure the solutions along the way by using both
advisers and external resources around you. In order to get the
best guidance and input, make sure to come well prepared with
a good pitch and questions.
Have fun along the way: Surprise each other with rewards along
the way when everyone thinks it is necessary. Everyone works
better when there is a good atmosphere and energy in the room.
Back-up: Store all files in a shared folder, file sharing or chat plat-
form, such as Dropbox or Google Drive (.. Workflow).
Tips for the designer
Keep the team contract
clearly visible when you are
sitting and working. At regu-
lar intervals, you can review
the cont ract and discuss
whether the rules are being
complied wit h and whether
they help you t o function as
well as you want and need. If
you see that adjustments are
needed, you adapt the con-
tract to t he need (Aakre and
Scharning 2016).
A stand-up meeting (or a
‘st anding meeting’ ) is a
common term in agile pro-
jects. It is a short meeting
between a t eam standing on
their fee t. (Kanbanize.com)
40
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