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Design and Strategy: A Step-by-Step Guide

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DOI: 10.4324/9781003223955

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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 2023

by Routledge
4 Park Square, Milton Park, Abingdon,
Oxon OX14 4RN

and by Routledge
605 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis

Group, an informa business

© 2023 Wanda Grimsgaard

The right of Wanda Grimsgaard to be identified as

author of this work has been asserted in accord­
ance with sections 77 and 78 of the 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 electronic, mechanical, or other means,
now known or hereafter invented, including
photocopying and recording, or in any information
storage or retrieval system, without permission in
writing from the publishers.

Trademark notice: Product or corporate names

may be trademarks or registered trademarks, and
are used only for identification and explanation
without intent to infringe.

Translated and fully revised second edition from

the Norwegian language:
Design og Strategi by Wanda Grimsgaard
© Cappelen Damm Akademisk 2018
ISBN: 978-80-02-49055-3

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from
the British Library

Library of Congress Cataloging-in-Publication Data

A catalog 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

Typeset in Type
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 1.9 Team collaboration 32
Preface by Bård Annweiler III 1.9.1 Control loop 35
Preface by Wanda V 1.9.2 Gameplan 37
Acknowledgements VII 1.9.3 Agile process management 39

INTRODUCTION PHASE 2 INSIGHT

How to use the book? VIII P. 41–170
What is design? X
Introduction 41

PHASE 1 INITIATION 2.1 Understanding the company 50

P. 1–40 2.1.1 Value creation 51
2.1.2 Decision making 51
Introduction 1 2.1.3 Organisational culture 53
2.1.4 Organisational development 53
1.1 Initial preparations 5 2.1.5 The company’s universe 54

1.2 Project brief 9 2.2 Situational study 55

2.2.1 Situational study process 56
1.3 Initial meeting 10 2.2.2 PIPI workshop 56
1.3.1 Before the meeting 11 2.2.3 Where are we – where
1.3.2 During the meeting 12 will we? 57
1.3.3 After the meeting 13
1.3.4 Meeting administration 13 2.3 Problem statement 58
2.3.1 Problem 60
1.4 Initial workshop 16 2.3.2 Problem statement process 61
1.4.1 Purpose of initial workshop 16 2.3.3 Problem definition 61
1.4.2 Workshop preparation 17 2.3.4 Problem statement
1.4.3 Workshop invitation 17 formulation 62
1.4.4 Workshop facilities 18 2.3.5 Problem statement
1.4.5 Workshop management 18 delimitation 63
1.4.6 Workshop execution 18 2.3.6 Problem statement analysis 65
1.4.7 Workshop report 19 2.3.7 Problem statement
1.4.8 Workshop process 20 requirements 67
2.3.8 A good problem statement 67
1.5 Project description 22 2.3.9 Wicked problems 68

1.6 Progress schedule 24 2.4 Method selection 70

2.4.1 Qualitative method 70
1.7 Price quotation 26 2.4.2 Quantitative method 71
1.7.1 Price request 28 2.4.3 Method triangulation 73
1.7.2 Price setup 28 2.4.4 Research question 73
1.7.3 Terms and conditions 28
1.7.4 Negotiation 29 2.5 Research process 74
1.7.5 Hourly rate 29 2.5.1 Problem statement (Step 1) 76
2.5.2 Research design (Step 2) 76
1.8 Contract 31 2.5.3 Choice of method (Step 3) 78
2.5.4 Choice of units (Step 4) 79
2.5.5 Data collection (Step 5) 80
2.5.6 Data analysis and PHASE 3 STRATEGY
discussion (Step 6) 80 P. 171–336
2.5.7 Data interpretation (Step 7) 81
2.5.8 Report preparation (Step 8) 82 Introduction 171

2.6 Research 82 3.1 Strategy development 176

2.6.1 Survey 82 3.1.1 Different approaches 177
2.6.2 Interview 90 3.1.2 Strategic management tool 181
2.6.3 Observation 97 3.1.3 TOP 5 182
2.6.4 Focus group 102 3.1.4 Strategic workshop 182
2.6.5 UX Research 104 3.1.5 Workshop process 182
2.6.6 Experiment 106 3.1.6 Strategic workshop report 184
2.6.7 Scientific research 108 3.1.7 Workshop template 185
2.6.8 Artistic research 112
2.6.9 Design research 113 3.2 Overall strategy 186
3.2.1 Purpose 187
2.7 Analyses 115 3.2.2 Mission 187
2.7.1 Situational analysis 117 3.2.3 Business idea 187
2.7.2 Internal analysis 119 3.2.4 Vision 189
2.7.3 Value chain analysis 121 3.2.5 Core values 191
2.7.4 Competitor analysis 122 3.2.6 Value proposition 196
2.7.5 Positioning analysis 125 3.2.7 The value pyramid 198
2.7.6 Target group analysis 129 3.2.9 Strategic narrative 201
2.7.7 Brand analysis 137
2.7.8 Visual analysis 142 3.3 Goals and subgoals 201
2.7.9 PESTLE analysis 146 3.3.1 Business goals 202
2.7.10 SWOT analysis 148 3.3.2 Big hairy goals 203
2.7.11 Gap analysis 153 3.3.3 Development of goals 204
3.3.4 Goal hierarchy 204
2.8 Mapping 155 3.3.5 Qual vs. quant goals 207
2.8.1 Mapping methods 156 3.3.6 Measurable goals 208
2.8.2 Moodboard 156 3.3.7 Goal achievement 208
2.8.3 Storyboard 159 3.3.8 Sustainability goals 209
2.8.4 Customer journey 160 3.3.9 Goals for design project 210
2.8.5 GIGA mapping 160
3.4 Business strategy 211
2.9 Testing and measuring 164 3.4.1 Competitive strategy 211
2.9.1 User testing 165 3.4.2 Porter’s generic strategies 212
2.9.2 A/B testing 166 3.4.3 Sustainability strategy 215
2.9.3 Funnel 167 3.4.4 Blue Ocean Strategy 215
2.9.4 Zero-point measurement 167 3.4.5 Transient advantage 217
2.9.5 Why do we measure? 167 3.4.6 Distinctive asset-
2.9.6 KPIs and metrics 168 building strategy 219
2.9.7 Qualitative indicators 3.4.7 Agile strategy management 222
and metrics 169 3.4.8 Is the right strategy chosen? 223
2.9.8 Mental availability 3.4.9 Strategy implementation 224
measurements 169
2.9.9 Category entry points 170 3.5 Business model 225
3.5.1 Business model canvas 227
3.5.2 Sustainable business model 227
3.5.3 Business model innovation 228 PHASE 4 DESIGN
3.5.4 Lean start-up 229 P. 337–528

3.6 Market strategy 230 Introduction 337

3.6.1 Markets 230
3.6.2 Marketing tasks 231 4.1 Design brief 345
3.6.3 STP marketing strategy 232
3.6.4 Customers’ needs 233 4.2 Strategy><Design 348
3.6.5 The four Ps 234 4.2.1 Mapping as a link 349
3.6.6 The four Cs 236 4.2.2 Visualise strategy 350
3.6.7 Content marketing 238 4.2.3 Visualise name 352
3.6.8 Inbound marketing 239 4.2.4 Distinctive brand assets 352
3.6.9 Digital strategy 241 4.2.5 Idea as a bridge 353
4.2.6 The fifth element 353
3.7 Brand strategy 245
3.7.1 Brand platform 251 4.3 Design methodology 354
3.7.2 Brand architecture 251 4.3.1 Human-centred design 355
3.7.3 Brand positioning 260 4.3.2 User-experience 358
3.7.4 Brand story 271 4.3.3 Emotional design 359
3.7.5 Brand identity 276 4.3.4 Innovation 360
3.7.6 Brand assets 280 4.3.5 Iterative method 363
3.7.7 Brand name 289 4.3.6 Divergence and convergence 366
3.7.8 Brand perspective 296 4.3.7 Sprint 368
3.7.9 Brand refresh, 4.3.8 Scrum 370
redesign, rebranding 299 4.3.9 Kanban 371
4.3.10 Lean and agile 371
3.8 Communication strategy 300 4.3.11 Design thinking 374
3.8.1 Communication audit 304 4.3.12 Customer journey 376
3.8.2 Identifying the target group 307 4.3.13 Need-finding 378
3.8.3 Communication goals 309 4.3.14 Service blueprint 380
3.8.4 Desired reputation 311 4.3.15 Co-design 381
3.8.5 Communication platform 315 4.3.16 Business design 383
3.8.6 Communication elements 318 4.3.17 Strategic design thinking 385
3.8.7 Communication 4.3.18 Systemic design 386
development 321 4.3.19 In retrospect 389
3.8.8 Channels and media 325
3.8.9 Communication 4.4 Concept development 390
measurement 329 4.4.1 Foundation and framework 390
4.4.2 Creative problem solving 392
3.9 Design strategy 332 4.4.3 Brainstorming 396
3.9.1 Design strategy compass 333 4.4.4 Idea development 398
3.9.2 Design strategy development 333 4.4.5 Conceptual directions 409
3.9.3 Design strategy content 334 4.4.6 Verbalisation and
3.9.4 Design goal 334 visualisation 410
3.9.5 Operational strategy 335 4.4.7 Prototyping of ideas 410
3.9.6 Design platform 335 4.4.8 Testing of ideas 410
3.9.7 Visual assets 336 4.4.9 Presentation of ideas 411
3.9.8 Elements and surfaces 336
3.9.9 Design strategy vs. 4.5 Design development 412
design brief 336 4.5.1 The three-direction
principle 412
4.5.2 Design sketches 413 5.2.3 Wireframe 535
4.5.3 Concrete design 417 5.2.4 Mockup 536
5.2.5 Prototype 536
4.6 Design elements 421 5.2.6 Data model and simulation 538
4.6.1 Shape 421 5.2.7 Presentation model 538
4.6.2 Colour 426 5.2.8 Blueprint 539
4.6.3 Texture 430 5.2.9 Production model 539
4.6.4 Space 430
5.3 Material selection 539
4.7 Composition 433 5.3.1 Materials 539
4.7.1 Perception 433 5.3.2 Functionality 540
4.7.2 Principles of composition 434 5.3.3 Material insight 541
4.7.3 Unity/whole 436 5.3.4 Material properties 541
4.7.4 Focal point 440 5.3.5 Material life cycle 542
4.7.5 Proportions 441 5.3.6 Product life cycle 543
4.7.6 Balance 442 5.3.7 Product life extension 543
4.7.7 Rhythm 445 5.3.8 Incorrect material selection 544
5.3.9 Sustainable materials 544
4.8 Surface and format 448
4.8.1 Surface 449 5.4 Paper and cartonboard 544
4.8.2 Format 451 5.4.1 Paper 544
4.8.3 Aspect ratios 455 5.4.2 Paper construction 545
4.8.4 The A series 459 5.4.3 Paper production 545
4.8.5 The golden ratio 463 5.4.4 Paper properties 546
4.8.6 Golden rectangle 464 5.4.5 Paper selection 548
4.8.7 The golden spiral 466 5.4.6 Cartonboard 550
4.8.8 Fibonacci 467 5.4.7 Green packaging 551
4.8.9 The rule of thirds 469 5.4.8 Packaging materials 553
5.4.9 Ecolabelling and certification 554
4.9 Identity development 470
4.9.1 The identity principles 471 5.5 Colour management 556
4.9.2 The identity elements 474 5.5.1 Colour models 558
4.9.3 Logo 476 5.5.2 Colour gamut 559
4.9.4 Symbol 489 5.5.3 Colour profiles 560
4.9.5 Identity colours 494 5.5.4 Select colour profile 562
4.9.6 Typography 498 5.5.5 Colour channels and
4.9.7 Distinctive assets 515 tone depth 565
4.9.8 Identity management 516 5.5.6 Workflow 566
4.9.9 Grid system 517 5.5.7 File types 568
5.5.8 PDF for printing 569
5.5.9 Colour reference systems 572
PHASE 5 PRODUCTION
P. 529–584 5.6 Production for digital
media 573
Introduction 529
5.7 Production for printed
5.1 Implementation 532 media 575
5.7.1 Press techniques 576
5.2 Model 533 5.7.2 Printing methods 577
5.2.1 Dummy 534 5.7.3 Raster 578
5.2.2 Sketch model 535 5.7.4 Four colours (CMYK) 579
5.7.5 Printing inks 580 6.8 Further development 615
5.7.6 Printing effects 580
6.9 Sustainable management 615
5.8 Installations and 6.9.1 Sustainability development 616
constructions 582 6.9.2 Corporate sustainability 616
6.9.3 Circular economy 617
5.9 Quality assurance 583 6.9.4 Net zero 618
6.9.5 The trendsetters 618
6.9.6 Greenwashing 618
PHASE 6 MANAGEMENT 6.9.7 The designer’s impact 619
P. 585–622 6.9.8 High complexity 621
6.9.9 Sustainable font choice 622
Introduction 585
References 624
6.1 Intangible assets 588
Index 638
6.2 Legal protection 590
6.2.1 Copyright 590 List of figures 644
6.2.2 Trademark 591
6.2.3 Domain name 593 List of tables 647
6.2.4 Company name 593
6.2.5 Exclusive rights in Planning tool 648
social media 594
6.2.6 Design rights 594
6.2.7 Patents 594
6.2.8 Counterfeiting 595
6.2.9 Marketing rights/
unfair competition 595

6.3 Design management 596

6.4 Design effect 597

6.4.1 Design ladder 598
6.4.2 The value of design 599
6.4.3 Design-driven company 600
6.4.4 Design impact awards 601
6.4.7 Visual impact 602
6.4.8 How to measure the
design effect? 602

6.5 Design manual 604

6.5.1 Purpose and target group 604
6.5.2 Foundation 605
6.5.3 Scope 605
6.5.4 Digital design manual 605
6.5.5 Contents 606
6.5.6 Unbranding 611

6.6 Design templates 612

6.7 Operations manual 614

 Bård Annweiler is one of the
two co-founders of the
award-winning Norwegian
brand consultancy 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 fundamental 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 to implementation
across sectors including
lifestyle, technology and
professional services.

Drawing on his experience

with clients, existing and
previous board positions,
he helps some of the leading
Scandinavian businesses
reimagine how they interact
with their customers and
employees. Bård is used as a
sounding board to ensure
long-term strategic
perspectives.

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 transitioned to
consulting.

II
 [start forord]

Design is a highly strategic profession, a fact we

Preface have all heard and experienced. So why has no
one written a book that unites the two topics,
Bård Annweiler 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
25 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 15 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 University 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 educated at

the Oslo National Academy of
the Arts 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 creation. Her
clients includes both start­
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 lecturer,
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 that
the outcome can contribute
to achieving the company’s
goals. She finds it equally
inspiring and fun to work
with strategy and design
which she sees as two sides
of the same coin.

Grimsgaard’s core area of

research is at the intersec­
tion of strategy and design,
aiming to bridge the two.
‘The challenge lies in inte­
grating strategy in design,
and vice versa. This is where
the key to 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 experienced 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 1980s. I was then
an experienced Mac user as I bought their very
first model back in 1984. 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 compendiums 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.
V
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 spe­
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.
 Alexander Fjelldal Lars Christian Gamborg
Alf Bendixen Lars Høie
Alina Wheeler Lars Olsen
Anders Tangerud Leif Friman Anisdahl
Anette Brekke-Bjørkedal Linda Lien
Anine Heitun Lise Feirud
Anita Grimsgaard Loe Malene Grimsgaard Loe
Anna Tokle Amundsen Mathias Haddal Hovet
Anne Cecilie Hopstock Matthew Shobbrook
Anne Holter Morten Throndsen
Annie Myhre Nicholas Hermier
Arild Tofting Nils Jørgen Gunderesen
Arne Simonsen Nina Furu
Ashley Booth Nina Lysbakken
Audun Farbrot Øivind A. Grimsgaard Loe
Bård Annweiler Ole Lund
Benedicte Wildhagen Øyvin Rannem
Birger Opstad Per Farstad
Birger Sevaldson Rachel Cooper
Birgitte Appelong Rory McGrath
Birgitte Hvidsten Rune Døli
Bjørn Rybakken Sidsel Lie
Brita Bergsnov Hansen Simon Manchipp
Camilla Martinussen Skule Storheill
Carl Gürgens Sophie Moss Kravik
Carl Tørris Chirstensen Steinar Killi
Cathrine Røsseland Susann Vatnedal
Dag Einar Thorsen Søren Obed Madsen
Eirik Faukland Thea Ørneseide
Eivind Arnstein Johansen Theo Sikkes
Eivind Eide Thomas Hvammen Nicholson
Elisabeth Holmberg Thomas Lewe
Elise Kaspartu Tom Tysbo
Endre Berentzen Tone Bergan
Erik Bakkelund Tor Paulson
Espen Johansen Tora Aasen
Frode Helland Torbjørn Sitre
Geir Skomsøy Tore H Wiik
Gillian Warner-Søderholm Torunn Mehus
Grace Harrison Ulf Winther
Henning Karlesen Wegard Kyoo Bergli
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

VI
Acknowledgements

Perpetual gratitude

I send some grateful thoughts to my father

Wilhelm Lefevre Grimsgaard (1932–1995). 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 1st 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
 How to use the book? Fig. 0.1 These phases are also
the main phases of a strategic
design process. The process is
The book you are holding presents a wide range of processes and meth­ presented here linearly, but
ods for strategic development of design. The key concept is a phase also works circularly.
system that represents a complete strategic design process. © Grimsgaard, W. (2018)
Fig. 0.2 The figure shows the
design process as a linear
1 2 3 4 5 6 phase structure and the way
we navigate back and forth
Initiation Insight Strategy Design Production Management and circularly in the phases.
The initiation of a design pro­
ject can take place in phase 1
Fig. 0.1 Phase structure or phase 4, depending on the
need for insight and strategy
development.
The phase system is displayed on the right side of the book, as a naviga­
© Grimsgaard, W. (2018)
tion structure, so you always know where you are in the process. The
Tips for the reader
book is first and foremost a handbook. It works across digital and manual
Phases 5 and 6 are no less
platforms. You should use it as a tool in the planning and development important because they
of design projects and pick out what you need at any given moment. For come last. You might as well
start reading here. Why not
this reason, the different phases and underlying steps are presented
start with 6.9 Sustainable
as independent units. Many of the topics, methods and models in the management?
book are available online and in the source literature, if you decide to
dig deeper. Figures 0.1 and 0.2 show the six main phases: initiation,
insight, strategy, design, production and management. Figure 0.6 shows
examples of how underlying levels appear in the navigational structure
and how to navigate.

Design

Initiation Insight Strategy Design Production Management

Initiation Initiation

Fig. 0.2 Linear and circular

First and second levels: The navigation structure consists of four levels.
Table 0.1 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 10 per cent with
strategy and 90 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.

VIII
 Table 0.1 The table shows the
Level 1 1 Initiation two first levels of the naviga­
tion structure. A planning tool
2 Insight with an overview of all the
3 Strategy phases can be found at the
4 Design back of the book.
© Grimsgaard, W. (2018)
5 Production
6 Management

Level 2

1. Initiation 4. Design
1.1 Initial preparations 4.1 Design brief
1.2 Project brief 4.2 Strategy><Design
1.3 Initial meeting 4.3 Design methodology
1.4 Initial workshop 4.4 Concept development
1.5 Project description 4.5 Design development
1.6 Progress schedule 4.6 Design elements
1.7 Price quotation 4.7 Composition
1.8 Contract 4.8 Surface and format
1.9 Team collaboration 4.9 Identity development

2. Insight 5. Production
2.1 Understanding the company 5.1 Implementation
2.2 Situational study 5.2 Model
2.3 Problem statement 5.3 Material selection
2.4 Method selection 5.4 Paper and cartonboard
2.5 Research process 5.5 Colour management
2.6 Research 5.6 Production for digital
2.7 Analyses 5.7 Production for print
2.8 Mapping 5.8 Installations and
2.9 Testing and measuring constructions
5.9 Quality assurance
3. Strategy
3.1 Strategy development 6. Management
3.2 Overall strategy 6.1 Intangible assets
3.3 Goals and subgoals 6.2 Legal protection
3.4 Business strategy 6.3 Design management
3.5 Business model 6.4 Design effect
3.6 Market strategy 6.5 Design manual
3.7 Brand strategy 6.6 Design templates
3.8 Communication strategy 6.7 Operations manual
3.9 Design strategy 6.8 Further development
6.9 Sustainable
management

Table 0.1 First and second levels

Main characters in the 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 Fig. 0.3 The figure shows the
and non-profit organisations, as well as private and public. The designer is book’s main characters: the
company (the design buyer),
the professional who carries out design assignments for the business. The the designer (the professional)
designer can be an individual designer, a design agency or another kind of and the user (the customer).
design company, regardless of design profession. The user refers to the © Grimsgaard, W. (2018)

person or target group the company wants to reach with their products Fig. 0.4 The figure shows
strategic design at the core of
and services, and whom the designer is aiming towards when creating
tackling business challenges in
user-friendly and attractive solutions. The user is the most important the company’s internal and
person. Without the user there will be no assignments and no design. external environment.
© Grimsgaard, W. (2018)
The Company The Designer Fig. 0.5 The figure illustrates
where strategic design is
located between the extremes
of art and business. Which is
close to business. The direc­
tion of art is often more indi­
vidual, while the direction of
business operations is more
client-driven.
The User © Grimsgaard, W. (2018)

Fig. 0.3 The main characters of the book Fig. 0.6 The figure illustrates
how the navigation structure
works.
© Grimsgaard, W. (2018)
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, 2011).
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 0.2. At the same time, design is a way of thinking, which is referred
to as design thinking and systems thinking (4.3.11 Design thinking, 4.3.18
Systemic design), ways of thinking and working that can help solve complex
problems, lead to innovation. Back to: What is design? A good way to view
design is found in Bason (2017)1 according to which design can be seen as:
1) a plan for achieving a particular result or change, including graphics,
products, services and systems.
2) a practice with a particular set of approaches, methods, tools and
processes for creating such plans.
3) 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 1 Christian Bason: Leading
order to meet new requirements. Designers nowadays face increasingly Public Design, How Managers
Engage with Design to Trans­
demanding challenges in a technologically complex world with ever- form Public Governance
increasing societal and global challenges. (2017).

X
Even in small projects, the complexity can be high, and it is becoming 1 Inititation
increasingly important for the designer to use systematic and strategic 2 Insight
3 Strategy
tools and methods. (Phase 4 Design: Introduction, p. 337). 4 Design
Design is a large multidisciplinary area that oscillates between free 5 Production
art on the one hand and business operations on the other. Between the 6 Management

extremes there is a range of disciplines that can be used to produce 2.1 Understanding the
creative and target-oriented solutions. The designers going for free art company
are more likely to create solutions based on intuition and gut feeling than 2.2 Situational study
2.3 Problem statement
business-oriented designers. The latter will be more concerned with 2.4 Method selection
creating strategic and targeted solutions. This is a general observation 2.5 Research process
and a lot of interesting things can come into being in the meeting between 2.6 Research
2.7 Analyses
the extremes. Read more about design in the introduction of phase 4. 2.8 Mapping
2.9 Testing and measuring
Strategic design
2.3.1 Problem
2.3.2 Problem statement
process
Internal The company External 2.3.3 Problem definition
2.3.4 Problem statement
formulation
Fig. 0.4 At the core 2.3.5 Problem statement
delimitation
2.3.6 Problem statement
Strategic design development: Strategic development of design can be analysis
explained as a way of developing and using design that is rooted in the 2.3.7 Problem statement
company’s overall strategy, and which should help the company build its requirements
2.3.8 A good problem
position and reputation, achieve its goals and strengthen its competitive- statement
ness or other value creation. Strategic use of design can also be driven 2.3.9 Wicked problems
by a clear design ambition, i.e. the design is part of the company’s overall
Step 1: Making a problem
strategy. In strategic design, the design process has aims that go beyond statement
the form and colour of a profile or a product. Strategic design development
means solving problems and opening new opportunities that lead to creat­ Fig. 0.6 Navigation
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. 0.5 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
(4.2 Strategy><Design). There is no one-size-fits-all solution in a design Table 0.2 The table shows
project; the possibilities are endless. Strong insight, goal setting and plan­ examples of planning from two
different projects based on the
ning, combined with solid idea processes, user insight and repeated test­ book’s phase structure. See
ing and evaluation are all a prerequisite for success. Sustainability goals Planning tool at the back of
should be set and met (3.3.8 Sustainability goals). See the planning tool the book.
© Grimsgaard, W. (2018)
on page 648 Planning tool as well as Table 0.2 Example of use of phases.
Tips for the designer
Check out the planning tool at
Package design Corporate identity the back of the book

1. Initiation 1. Initiation Eight interviews from

the research phase of
1.2 Project brief 1.2 Project brief
the Norwegian version
1.3 Initial meeting 1.3 Initial meeting of this book (2017) are
1.5 Project description 1.5 Project description available online. Profes­
sionals from different
1.6 Progress schedule 1.6 Progress schedule
design disciplines talk
1.7 Price quotation 1.7 Price quotation about their processes
1.8 Contract 1.8 Contract and methods. They also
share their thoughts and
reflections on design,
2. Insight 2. Insight and describe the oppor­
2.2 Situational study 2.2.3 Where are we – where will we? tunities and changes
they see in the future.
2.3 Problem statement 2.3 Problem statement
The interviewees are
2.7.5 Positioning analysis 2.7.1 Situational analysis Mathias Haddal Hovet
2.7.6 Target group analysis 2.7.4 Competitor analysis (Heydays), Torbjørn
Sitre (Sopra Steria),
2.7.8 Visual analysis 2.7.5 Positioning analysis
Henning Rekdal Nielsen
2.7.10 SWOT analysis (EGGS design), Kjell
3. Strategy 2.9.8 Mental availability Reenskaug (Cognizant),
Nina Lysbakken (Univer­
3.5.2 Sust ainable business model measurements
sity of South-Eastern
3.7 Brand strategy Norway), Carl Gürgens
3.8.5 Communication platform 3. Strategy (Bold Scandinavia),
graphic designer Lars
3.9 Design strategy 3.1.3 Top 5
Høie and interior archi­
3.2 Overall strategy tect Birgitte Appelong.
4. Design 3.3 Goals and subgoals The interviews are avail­
able at designandstrat­
4.1 Design brief 3.4.6 Distinctive asset-building
egy.co.uk.
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 certification 5. Production
5.7 Production for printed media 5.1 Implementation
5.9 Quality assurance
6. Management
6.2 Legal protection 6. Management
6.9 Sustainable management 6.2 Legal protection
6.3 Design management
6.5 Design manual

Table 0.2 Example of use of phases

XII
[start kap]
1.1 Initial preparations 5

1.2 Project brief 9

1.3 Initial meeting 10

1.3.1 Before the meeting 11
1.3.2 During the meeting 12
1.3.3 After the meeting 13
1.3.4 Meeting administration 13

1.4 Initial workshop 16

1.4.1 Purpose of initial workshop 16
1.4.2 Workshop preparation 17
1.4.3 Workshop invitation 17
1.4.4 Workshop facilities 18
1.4.5 Workshop management 18
1.4.6 Workshop execution 18
1.4.7 Workshop report 19
1.4.8 Workshop process 20

1.5 Project description 22

1.6 Progress schedule 24

1.7 Price quotation 26

1.7.1 Price request 28
1.7.2 Price setup 28
1.7.3 Terms and conditions 28
1.7.4 Negotiation 29
1.7.5 Hourly rate 29

1.8 Contract 31

1.9 Team collaboration 32

1.9.1 Control loop 35
1.9.2 Gameplan 37
1.9.3 Agile process management 39
1 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 Tips for the client
and the designer until a contract is signed and work can begin, we call How to choose the right
designer?
the initiation phase. When initiating the project, the foundation for – Look for the right
the project’s content, scope and progress is laid. The qualifications qualifications.
necessary to solve the task and all applicable conditions are also clari­ – Look at value as well as
price.
fied. In this phase, it can often be challenging to predict the scope of – Look for a good match.
the assignment and the competence needed. A strategic designer will
Tips for the designer
clarify which problem or need the assignment is to solve while ensuring Examine how the company
strategic alignment. If no goals or strategies are defined, it is natural presents itself and its prod­
ucts or services. Visible
to start with them. If the assignment is to create a website, it might be
weaknesses can be good
necessary to develop a communication strategy and a visual identity sales arguments, such as
before starting to design the website. A seemingly small assignment the logo or website seems
outdated, the company’s
may thus turn into a larger and more complex project than what the
communication is not in
client initially imagined. Multidisciplinary expertise might often be line with how their product
necessary, especially in larger projects. Design agencies tend to have or service is experienced,
their service or product is
a broad range of expertise in their staff, while individual designers can
perceived as cumbersome
connect with competent partners. and not user-friendly, the
A project usually starts with the designer receiving a project brief product packaging does not
seem environmental friendly,
from the client before or during their first meeting, referred to as the
that the company’s behaviour
initial meeting. The project and collaboration are discussed at this does not seem to be in line
meeting while also establishing a mutual understanding of what task with its identity, etc.
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 4
with a design brief. If more insight is deemed necessary, in addition to
setting goals and developing strategies, the project starts in Phase 1
with a project brief, see Table 0.1. (1.2 Project brief, 4.1 Design brief, 1.3
Initial meeting, 1.4 Initial workshop, 2.2 Situational study, 2.3 Problem
statement, 1.9 Team collaboration).

Initiation process
Project brief: The client’s description of the project.
Initial 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 quotation: The designer’s quote or estimate for the project.
Contract: A signed agreement between the designer and the client.
Collaboration: Establishing a project team and facilitating a good
collaboration within the team and with the client.

4
 1 Initiation
Terminology 2 Insight
3 Strategy
Designer: Provider of design services, e.g. design agency or free­
4 Design
lance designer. 5 Production
Client: Purchaser of design services, e.g. a company or an organi­ 6 Management
sation.
1.1 Initial preparations
Company: A business, undertaking, enterprise, organisation, etc. 1.2 Project brief
producing and offering goods or services. Here we use company as 1.3 Initial meeting
1.4 Initial workshop
a term also for private or public, commercial or non-commercial,
1.5 Project description
as well as non-profit or NGOs. 1.6 Progress schedule
Assignment: Allocation of a project. 1.7 Price quotation
1.8 Contract
Project: A project or task to be carried out for a client.
1.9 Team collaboration

– Preparations
– Presentation

1.1 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 Further reading
matter of getting across their message and service regardless of profit. It can be a good start to read
the chapters 2.1 Understand­
No matter who the designer is selling their services to, it is essential ing the company and 6.9
to prepare well for the sales pitch. A good approach is to consider the Sustainable management.

5
company’s situation and visible problem areas. The designer’s goal Tips for the designer
should be to offer something appealing and relevant to the company, It is a good idea to keep an
eye on the client during a
meeting their needs and qualification requirements. In order to do sales pitch and assess when
this well, it is not enough for the designer to know all there is to know enough is enough. It is impor­
about design. The designer must also know a bit about the business tant not to oversell. Facial
expressions and attitudes
area and how it works, and typical challenges. This will simplify the quickly reveal whether some­
conversation between the two and make it easier for the designer to thing is interesting or not. If
identify the needs of the business, which can lead to a project. It is an someone starts to fidget and
check their phone, it may be
excellent start to understand the company’s situation by examining time to round off the pres­
its website and social media presence. Gain knowledge of what they entation, and instead spend
do and how they present themselves and their products or services. some time on setting up a
new appointment and then
Try to track their values, attitudes, and measures to meet environ­ end the meeting.
mental or societal challenges. Look for potential for improvement.
Furthermore, by examining the company’s financial performance, one Ask questions, then
can determine whether they have a positive or negative development poke, prod, and probe
until you get people
in sales, indicating whether they are doing something right or vice talking. Ask follow-up
versa. It can also reveal whether they are creditworthy and able to questions like: ‘I really
pay for the design services they order.1 Just as important as getting like what you said about
______, can you go a
to know the company in question, is taking a look at its competitors little further?’, ‘What
and any news in the relevant business area. This will provide a more do you mean by that?’,
comprehensive picture of the field in which the company operates. ‘Why do you feel that
way?’ (Norman, 2019)
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 (2.1 Understanding the
company, 2.2 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 (1.3 Initial meeting).
Time is always an essential aspect. Dealing with the management, 1 There are several companies
that offer such services online,
as is the case when pitching design services, they often have very little such as experian.com and
time. How much time they have set aside should preferably be clarified Dun&Bradstreet.com.

6
 1 Initiation
Pitch Perfect 2 Insight
3 Strategy
A pitch is a short and sharp sales presentation. Here are five tips
4 Design
for a successful pitch, based on Amundsen (2015): 5 Production
1) Prepare well 6 Management
– What is unique about you, your idea, product or service?
1.1 Initial preparations
– What needs do you meet? What is the market potential? 1.2 Project brief
– Any challenges? Why bet on you? 1.3 Initial meeting
1.4 Initial workshop
2) Create a script
1.5 Project description
– Write down what you intend to say. 1.6 Progress schedule
– Review the text, edit, and see where you can put a full 1.7 Price quotation
1.8 Contract
stop more often. This can help you get your message
1.9 Team collaboration
across more accurately and clearly.
– Be concise, objective and precise. Put forward one thing – Preparations
– Presentation
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, Further reading
focusing on the opportunities in collaboration. The designer’s ability Show Your Work!: 10 Ways to
Share Your Creativity and Get
to identify problems, think analytically and creatively, to see both the Discovered by Austin Kleon
big picture and the details, and be able to work with both structural (2014).

7
 Tips for the client
Five tips for a good argument The designer standing in
front of you, can be the key to
You may be a designer, but when it comes to introducing yourself
your success. You are think­
or pitching an idea, you have to act like a salesman. To really con­ ing that designers only create
vince a client, nothing beats a good fact-based argument. Based logo designs and décor? Well,
some do only that, but many
on (Hoekman, 2016):
designers solve large complex
1) Listen and repeat their words : The client often tries to tell you tasks, which intervene in how
things they do not know how to express. Your job as a designer the company thinks, performs
its tasks, develops and sells
is to read between the lines and extract the truths, they are
its products or services, and
not clear about. Before you can develop any kind of solu­ how they approach a more
tion, you need to know what the problem is. And that means sustainable and environmen­
tally friendly way of doing
listening. It helps you identify what the client’s concerns and
business. The designer is
goals really are. Repeating what you hear makes the person first and foremost a problem
feel more receptive to your recommendations and ideas. By solver with a creative way
of thinking that can lead to
listening, you show respect.
increased value for the com­
2) Ask questions: A designer asks questions – about the users, pany and their customers.
the business, the concerns, the needs, the previous deci­ Tips for the designer
sions, the goals, and so on. Good designers want to see the Acquaint yourself in advance
big picture. They ask questions because they are curious with the company you are
meeting with. Think your
and because the answers can help them make good design argument through. Decide
decisions. Asking is as important as listening. It helps form what impression you want
arguments for and against. to leave the company with,
such as excited, impressed,
3) Give reasons for your views : Spend some time explaining and convinced. Plan your efforts
justifying your views, arguments, and recommendations. This based on that. Be sure not
is how you gain more attention and respect, and your ideas to oversell yourself or offer
easy solutions. Study nego­
and views create more impact. tiation techniques and avoid
4) Present your presentation as a story : If you can explain overpricing. Think smart.
your arguments through a presentation, by applying an Be forward-looking and take
interest, show commitment,
essay-like structure to your communication, you do not be curious, ask questions, and
have to spend so much time arguing. Ask those present take notes. All notes will come
to wait until you have finished your presentation before in handy in your further work
if you get the job. Good luck!
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.

8
and visual solutions, makes the designer an important partner for 1 Initiation
businesses pursuing growth and value creation (2.1.1 Value creation, 2.3 2 Insight
3 Strategy
Problem statement, 3 Strategy, 4.3 Design methodology, 4.4 Concept 4 Design
development, 4.5 Design development). 5 Production
6 Management

1.1 Initial preparations

1.2 Project brief 1.2 Project brief
1.3 Initial meeting
1.4 Initial workshop
The project brief is the client’s first presentation of an 1.5 Project description
assignment to the designer. It should provide a short 1.6 Progress schedule
1.7 Price quotation
and clear description of the project to serve as a star­ 1.8 Contract
1.9 Team collaboration
ting point for their first meeting. The designer uses the
project brief as a basis to draw up a more detailed project – Project brief template

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 (1.5 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 Presentasjon online
Test the presentation
requirements that apply, as well as necessary qualifications needed to in advance at the same
solve the task. This is also something that can be cleared through the type of digital meeting
introductory discussions. It is important for the client to be aware that platform that will be
used during the meeting
the project may take a completely different turn after the initial meeting with the client. Keep
and workshop, where the designer asks in-depth questions to shed light your slides simple. Limit
on the real problems and needs of the company. the amount of text. High­
light important informa­
The layout, content and designation of a project brief may vary, but tion and use quotes.
the structure can be quite similar. Here is a template that the designer Capture attention
can send to the client as a basis for preparing a project brief at the by showing beautiful
images and video slides
beginning of a project. The client fills in the items about which it is to break up the speak­
possible to say something initially. It may be difficult to have a clear ing. Avoid talking for
idea about some of these items at an early stage of the project, such as too long in one stretch.
Give your audience a
for example, problem statement and project goals. Much can be sorted chance to share their
out during the initial meeting and in the workshop, as well as in further opinions. Interact with
studies, research, and surveys. If the goals and tasks for the project are your audience. Enable
participants to pose
already clearly defined, and necessary studies and strategy development questions, clarify ideas,
has been carried out, a design brief may be prepared, which is a more and solve any misun­
complementary briefing (4.1 Design brief ). derstandings. Limit the
time you spend sharing
a screen; instead show
Project brief template your own face when
Client: Company name and contact person.* talking. Reflect live after
the presentation or use
Date: Date on which the brief is prepared.* for example Mentimeter
Project name: Work title of the project.* to ask how the attendees
felt during the session
The company: Brief description of the company, product and/or service.*
and how useful it was.
Problems and needs: Brief description of the company’s position, chal­ Based on Hanifan (2021),
lenges, problems and opportunities, and what problems or needs the mentimeter.com
project will help solve.*

9
The project: Short introduction to the project, including background, Tips for the designer
what tasks should be carried out and why.* Listen, ask questions, and
show measurable results.
Project goal and ambition level: Short description of the preliminary
Tips for the client
plan, goal and ambition level of the project, as well as how the project is
The project brief should ide­
intended to contribute to achieving these goals. ally be written and sent to
Target groups: Description of target groups relevant for the project the designer before the initial
meeting. Alternately, you can
and their order of priority; primary, secondary and other stakeholders.
give an oral briefing at the
Strategic anchoring: Short explanation of how, the project is or will be initial meeting. Designer pro­
anchored towards the main goals and strategy of the company. Relevant vides a more specific project
description after the meeting,
strategy documents attached, if available. For example, short version of
which must be approved by
the main strategy, business strategy, any sub-strategies, such as brand you before the work can begin.
strategy and communication strategy, etc.
Deliverables: Explanation of what activities, tasks and final A project brief is a
deliverables are envisaged, such as visual identity, packaging design, short description of
key elements of your
service design, website, advertisement or the like. See also 4.1 Design project. Think of it as
brief, for a more complete briefing on the delivery. a quick summary for
Time frame: Delivery date*, and dates of sub-deliveries. project stakeholders
and cross-functional
Evaluation: Any plan for measuring and evaluating results, and the collaborators (Martins,
measurement tools to be used. 2020). The project brief
Budget framework: Total budget, partial budget or budget estimate is a key document at the
initiation of a project, in
for the project. that it brings everyone
Qualification requirements: Any other requirements or demands for together to serve a com­
inter- or multidisciplinary competence. mon end (Landau, 2021).

The items that the client should answer as a minimum are marked with
an asterisk.

1.3 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

10
 1 Initiation
Terminology 2 Insight
3 Strategy
Project brief: Written by the client when initiating a new design
4 Design
project, before research and strategy work is carried out. The 5 Production
project brief should give a short introduction to the project and 6 Management
should be followed up by the designer with a project description
1.1 Initial preparations
and price estimate. 1.2 Project brief
Project description: Written by the designer based on the project 1.3 Initial meeting
1.4 Initial workshop
brief and the information obtained during the initial meeting and
1.5 Project description
the initial workshop. The project description should provide a 1.6 Progress schedule
clear description of the project, as well as tentative or final goals, 1.7 Price quotation
1.8 Contract
framework and conditions.
1.9 Team collaboration
Design brief: Written by the client when initiating a new design
project, after research and strategy work has been carried out. 1.3.1 Before the meeting
1.3.2 During the meeting
It can also be written by the designer who has participated in the
1.3.3 After the meeting
strategy development and must later be approved by the client. 1.3.4 Meeting administration
The design brief should describe the task to be solved, the purpose
of the task and which deliverables will be included (4.1 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, 2017).

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.

1.3.1 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

11
to the company’s product or service. What are the current trends? What Tips for the designer
is innovative in their category? It might be useful to make a simple visual The client may consciously
or unconsciously emphasise
analysis of the competitive picture from an early stage, in order to obtain qualities other than profes­
an overview of the different market players’ assumed position and be able sional skills, such as how
to discover their possible differentiation potential. Is there a gap or niche the designer stands and
communicates; whether the
that the company can fill? In general, it is important to look for obvious designer is perceived as open,
deficiencies, problems or needs (1.1 Initial preparations). inclusive, safe, engaged, con­
Both the designer and the client must decide who should attend the fident, empathetic, with good
communication skills and
meeting, and what roles and areas of responsibility are required to be good at conveying thoughts
represented. The designer might have an opinion on which of the client’s and ideas.
representatives should attend the meeting and communicate it to the
client. If the design assignment will affect the strategy and business ‘Consistent’ means that
something is marked by
development of the company, it is a prerequisite that representatives harmony, regularity, or
of the owner and the management attend the initial meeting. Project steady continuity: free
leaders and decision-makers should always be present, but in general it from variation or con­
tradiction (Consistent,
is natural to consider the number of participants in relation to the scope n.d.).
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.

1.3.2 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

12
work on drawing up a project description and preparing a budget may 1 Initiation
begin. If the client is open with their budget framework, it could save 2 Insight
3 Strategy
time for both parties, because the designer can calculate time and 4 Design
resources within the set limits. The designer should consider whether 5 Production
the level of ambition of the project to be carried out is realistic in rela­ 6 Management

tion to the budget framework. High levels of ambition can mean more 1.1 Initial preparations
thorough processes and more time spent, resulting in a higher total 1.2 Project brief
price (1.7 Price quotation). Experience shows that many businesses 1.3 Initial meeting
1.4 Initial workshop
purchasing design services, have little experience of what a designer 1.5 Project description
can offer, what a design process involves in terms of time and resources, 1.6 Progress schedule
what it costs, and what results they can expect. To a certain extent, the 1.7 Price quotation
1.8 Contract
designer can make this more predictable by presenting similar design 1.9 Team collaboration
projects and demonstrating successful outcomes, such as increased
attention, greater awareness or increased sales, alongside explaining 1.3.1 Before the meeting
1.3.2 During the meeting
how a design process is normally carried out (Phase 4 Design; Design 1.3.3 After the meeting
process, 4.3 Design methodology). 1.3.4 Meeting administration
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.

1.3.3 After the meeting

5 expert tips to boost
your online presenta­
The designer should record their own meeting minutes, even if the tion skills (Hanifan
client does too, and should ask the client to approve the minutes in 2021, mentimeter.com)
writing. This way, the designer will have confirmation that both parties 1. Engage the audience
and build a connection.
are unanimous on the matters and decisions taken during the meet­ Get the audience
ing. The designer follows up after the meeting by sending the meeting involved. Give the audi­
summary, drawing up a progress schedule and drafting an agreement. ence a chance to share
their opinions!
It is the designer who will provide the service and make arrangements, 2. Add stunning visuals
thus facilitating the client. The designer should never take it for granted to capture attention.
to be chosen for an assignment, even if it may seem that way during the Capture attention
by showing beautiful
initial meeting. The designer is constantly in a sales situation, and even images and video slides
after the project has been assigned, the designer will be continuously to break up the talking.
assessed on what is being delivered (1.6 Progress schedule). 3. Interact with your
audience.
Use Q&A session to
1.3.4 Meeting administration enable participants to
pose questions, clarify
ideas, and solve any mis­
A successful meeting requires a good structure for planning and admin­ understandings.
istration. Detailed level of preparation, implementation and follow-up 4. Keep it simple.
must be considered in relation to the scope and complexity of the pro­ Keep your slides simple.
Limit the amount of text
ject. Whether it is the designer or the client that will act as the meeting and avoid talking for too
chairperson may vary in the course of the design project. Here is an long in one stretch. High­
example of an outline for a good meeting plan. light important informa­
tion and use quotes.
Purpose: What is the purpose of the meeting? Clarify the purpose of the 5. Reflect afterwards.
meeting and what you expect to achieve with it. Reflect live or use e.g.
Mentimeter to ask how
Participants: Who will attend the meeting? Clarify who the decision-
the attendees felt during
makers are and other project participants/contributors. the session, and how
Invitation: Who convenes the meeting and what matters should the useful it was.
meeting include? Usually, the person who initiates the meeting sends out

13
a meeting invitation, arranges the meeting venue, does the preparation, Tips for the designer
and acts as the chairperson. The invitation should be sent out in a timely Think carefully about the
purpose of the meeting, what
manner and should include the time, duration and venue of the meeting, you would like to get out of
title and purpose of the meeting, names of participants, agenda and it, what impression you want
contact details, as well as the meeting location as well as an address or the client to be left with after
the meeting, and what feeling
a link to a digital meeting platform. Ask for confirmation on who will be you want to leave the meeting
attending the meeting and, if necessary, send out a reminder. with yourself. Do you want the
Agenda: What should the agenda include? The agenda should describe client to be enthusiastic and
perceive you as a skilled quali­
each item, who is responsible for it and how much time has been allocated fied person? If so, you must
for each item. The agenda may follow as an appendix to the invitation. do both the mental and the
At the initial meeting, an agenda could look like this: practical preparations, which
are necessary in order for
the client to actually perceive
1) Opening remarks and introduction by the chairperson you as such. It is about being
2) Presentation of the client’s company by the general manager conscious of your behaviour
and clothing style, how you
3) Presentation of the project brief by the market manager talk, listen, and argue, how
4) Presentation of the design agency and its qualifications by the you appear as professionally
designer competent, engaged and
trustworthy. All in all, being
5) Discussion about the project, level of ambition, time and budget yourself is an advantage. A lot
framework of things are about chemistry
6) Questions about qualification and choice of agency – good chemistry.

7) Summary and further progress

8) 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, 2019).

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 participant 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.

14
 During the meeting, the chairperson must: 1 Initiation
– Consider the tone and style of the meeting (formal or informal?). 2 Insight
3 Strategy
– Turn the attention away from oneself and focus on the role as chair­ 4 Design
person. 5 Production
– Start with some small talk before the meeting begins if there is time. 6 Management

– Start the meeting on time. Delay is misuse of everyone’s time. Manage 1.1 Initial preparations
time generously throughout the meeting. 1.2 Project brief
– Clarify the purpose of the meeting, agenda, time frame, time for breaks 1.3 Initial meeting
1.4 Initial workshop
and selection of the minute taker. 1.5 Project description
– Write clear notes, preferably based on the agenda layout. 1.6 Progress schedule
– Create dialogue and debate by asking questions and challenging 1.7 Price quotation
1.8 Contract
claims. 1.9 Team collaboration
– Manage discussions, make sure everyone’s opinions are expressed.
– Repeat important comments to emphasise. 1.3.1 Before the meeting
1.3.2 During the meeting
– Ensure that discussions end in a conclusion by repeating decisions along 1.3.3 After the meeting
the way and asking if everything is properly understood. 1.3.4 Meeting administration

During the meeting, the meeting participant must:

– Present their input according to the agenda.
– Comment, ask questions, participate in discussions.
– In formal meetings raise a hand to speak.
– Take their own notes.

After the meeting, the chairperson must:

– Briefly summarise the items and conclusions. Tips for the meeting
– Clarify whether meeting participants have a common understanding leader
of items and conclusions. Give people a warm
welcome
– Review which items are to be followed up, as well as their deadlines and Physical meeting: Shake
who is responsible. hands with meeting
– Check if the purpose of the meeting has been achieved or if there is participants when they
arrive, look them in the
anything unclear. eye, break the ice with
– Did the client receive sufficient information to be able to choose a small talk, for example.
designer? ‘I see you’ve had a lot
of press coverage in
– Should the choice of designer be made during the meeting or after, and, the past few days,’ or:
if relevant, when? ‘Did you find a parking
– Has the designer received sufficient information about the project to be space?’. Make sure
everyone hang up their
able to write a project description and submit a quotation? jackets, is given a drink,
– Are more meetings or a workshop necessary? If relevant, when? and finds a seat at the
– Suggest further progress and date for a possible new meeting. meeting table.
Digital meeting: If the
meeting is not too formal
Minutes: and you have time before
The chairperson is responsible for the minutes being written and the meeting starts, you
can say hello to each of
distributed. The minutes of the meeting must include the date and the participants as they
name of the meeting, the purpose of the meeting, the names of the appear on the screen.
participants, items and conclusions, the persons responsible and Say their name, ask how
they are, where they are,
deadlines for the follow-up of items and, where appropriate, the date what the weather is like
of a new meeting. Minutes of meetings should be sent out shortly after in their city or country,
or give a positive com­
the meeting. Meeting participants are given a short deadline to make
ment about something
adjustments to the content. If the designer is the minute taker, they they have achieved or
should request written approval of minutes from the client, preferably shared recently.
by email.

15
 1.4 Initial workshop A workshop is a work
meeting where a group
of people gather to solve
An initial workshop is very useful during the initial phase tasks together through
of a design project. The purpose of such a workshop is to brainstorming and crea­
tive processes.
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, scope
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.

If there is time and budget to conduct only one workshop, an initial

workshop could for example be combined with a strategic workshop.
(3.1.4 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.

1.4.1 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 (2.3 Problem statement). Secondly, it is 1 Initiation
about clarifying the project goal and connecting this to the company’s 2 Insight
3 Strategy
main goal and strategy. It is also a plus to establish as early as possible 4 Design
a clear framework, scope and level of ambition for the project, as well 5 Production
what conditions and prerequisites will apply, although some of these 6 Management

may be clarified at a later stage. The design project, as presented in 1.1 Initial preparations
the original project brief by the client, can change in nature and scope 1.2 Project brief
after an initial workshop when the needs and situation of the company 1.3 Initial meeting
1.4 Initial workshop
become clearer. Several workshops may also be necessary during the 1.5 Project description
initiation phase, and here a smooth transition to a strategic workshop 1.6 Progress schedule
is possible, the purpose of which is to work out the necessary objectives 1.7 Price quotation
1.8 Contract
and strategies (3.1.4 Strategic workshop, 2.2.2 PIPI workshop, 2.2.3 1.9 Team collaboration
Where are we – where will we?, 2.7.10 SWOT analysis: SWOT-workshop).
1.4.1 Purpose of initial
workshop
1.4.2 Workshop preparation 1.4.2 Workshop preparation
1.4.3 Workshop invitation
When the designer proposes an initial workshop, the opportunity is 1.4.4 Workshop facilities
1.4.5 Workshop
there to take a central role in convening, planning and directing the management
workshop, as well as preparing a report. Good preparation is essential for 1.4.6 Workshop execution
a successful workshop. It involves thinking carefully through a number 1.4.7 Workshop report
1.4.8 Workshop process
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.

1.4.3 Workshop invitation

Further reading
The invitation to an initial workshop does not require details of its
Check out the book: Design­
content. A list of what results are desirable would suffice; for example, ing & Leading Life-Changing
to clarify the project goal and framework. If the client does not prepare Workshops: Creating the
Conditions for Transforma­
before the workshop, it is an advantage, because it is often the spontane­
tion in Your Groups, Train­
ous and intuitive input that yields the best results. The client should have ings, and Retreats (2020) by
at least two representatives or as many as the client wishes to include, Nelson et al.
preferably not more than eight, who together represent a breadth of
An initial workshop
knowledge and experience in areas related to the company. The invita­
brings clarity to the
tion should encourage the client to include people from different parts problem to be solved by
of the organisation, such as from marketing, production, technical or the project.
any other relevant areas.

17
1.4.4 Workshop facilities Tips for the designer
An initial workshop is suitable
as input. It is a good way to
It may be a good idea to hold the workshop at the designer’s premises uncover the client’s situation
to get the client away from familiar surroundings. On the other hand, it and needs, and a favourable
can be an advantage for the designer to meet the client on their home occasion to pitch one’s own
expertise. In other words, it is
turf, and it might be more convenient for people attending from the useful to both parties. Do not
company. In any case, the designer must ensure that the necessary equip­ forget to get paid.
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,2 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.

1.4.5 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.

1.4.6 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?
2 Miroboard is an online col­
a) What does the company do? The first question may seem rather laborative whiteboard plat­
form (miro.com), suitable for
trivial: What is the company doing/offering? Most people would probably interactions in workshops and
think that all businesses know what they do, and what they offer, and co-creation.

18
that everyone who works in the company has a common understanding 1 Initiation
of it. However, the designer should assume that the reality is different, 2 Insight
3 Strategy
that employees do not share an unambiguous perception of what the 4 Design
company does. Managers and owners in the same company might often 5 Production
explain the company and its product or service in widely different ways 6 Management

and have different opinions without really being aware of it, and without 1.1 Initial preparations
thinking that it leaves an unclear picture of the company. If you ask ten 1.2 Project brief
people from the same business to describe what the company does in 1.3 Initial meeting
1.4 Initial workshop
one sentence, you will probably get ten different answers. When initiat­ 1.5 Project description
ing a design project, it is important for the designer to have a correct 1.6 Progress schedule
understanding of what the company does, and it should be consistent 1.7 Price quotation
1.8 Contract
with the client’s perception. 1.9 Team collaboration

b) What are their challenges and problems? The second question is 1.4.1 Purpose of initial
workshop
one of the most important ones to be answered. What challenges or 1.4.2 Workshop preparation
problems does the company face? Such a question is often met with 1.4.3 Workshop invitation
some resistance. Similarly, to people who perceive their problems as 1.4.4 Workshop facilities
1.4.5 Workshop
personal, the company perceives its problems as both personal and management
confidential and does not share them with just anyone. It can therefore 1.4.6 Workshop execution
be challenging to get the company to open up and share their problems 1.4.7 Workshop report
1.4.8 Workshop process
(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 measured 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 (2.3 Problem statement).

‘It is crucial that design­

c) What is the project goal? The third question comes as a natural con­ ers are good at handling
tinuation of the previous. Once the problems have been recorded and complexity in order to
ranked, participants discuss which of them the design project should take advantage of their
unique abilities for visual
help solve, what results are envisaged, and what should be the project thinking and problem
goal. Without a clear goal on which the parties agree, it will be difficult solving. Design activi­
to plan how the project should be carried out and the results measured. ties and processes are
moving closer and closer
In this context, it is also important to talk about how the design project into our customers’ core
should help the company in achieving its long-term overall objectives. Not structures. This creates
infrequently, the need for development or adjustment of the goals and an even greater need
for information process­
strategies of the company is revealed when initiating a design project. The ing and stakeholder
designer may propose to work on this before the design task is defined management. Keeping
the right people, who
and initiated (3.3 Goals and subgoals, 3.3.9 Goals for a design project).
are involved, at the right
level and at the right
1.4.7 Workshop report time, creates basis for
strong ownership of the
process and the ideas it
The report should include the project name, date, purpose of the work­ brings out’ (Sevaldson,
shop and names of client and designer representatives. It should begin 2011).
with a brief description of the project, what has been accomplished,

19
and what has been concluded. Questions and results are then pre­ Tips for the designer
sented in a clear and structured manner. It is a good idea to record A small or medium sized
enterprise is often led by an
the results at the top of each item so that they are easy to find. Any entrepreneur who has the
unanswered matters are highlighted for further processing. If there whole business strategy in
are many words and phrases from the brainstorming, they may be their head, and who believes
that all the employees can
included as an appendix to the report. The report should include read their mind. It is essential
suggestions for conclusions and further action. It is explained how that everyone in the company
the results affect the project to be carried out. The report may be has the same perception of
what the company should be
included as part of the continued work on situational study and doing and that everyone com­
strategy development. municates the same things to
After the workshop activities have been completed, the report those around them. If you as a
designer are to develop a visual
approved, and the assignment clarified, a project description, progress identity or contribute with
schedule, budget and contract can be prepared. If needed, a new work­ other services to a company,
shop is proposed, along with suggestions for alternative dates and price. it is absolutely necessary
that they know what the
A second workshop can be expanded with questions from situational company offers, and that you
studies or situational analysis or combined with strategic workshop and your client have the same
(2.2 Situational study, 2.2.2 PIPI workshop, 2.2.3 Where are we – where perception of it. It should be
clearly worded in a business
will we?, 2.7.1 Situational analysis, 3.1.4 Strategic workshop). concept, as part of an overall
strategy (3.2.3 Business idea).
1.4.8 Workshop process

Below is an example of initial workshop process based on three main

questions:

1) What does the company do/offer?

2) What problems/challenges does the company have?
3) What is the project goal, level of ambition and expected result/
effect?

Question 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:
1) The participants sit around a table. Everyone is given pen and
paper. The chairperson stands up and gives guidance.
2) The chairperson asks each person to write a sentence describing
what the company does without talking to the others.
3 The question can advanta­
3) Each person may write several sentences, but reads out only the geously be asked and elabo­
one they are most satisfied with. (Feel free to have leaders/decision­ rated in a strategic workshop.
makers read out their answers last, as their words and opinions Workshop model suggestions:
3.1 Strategic workshop, 3.2.6
often determine what colleagues dare to say.) Value Proposition, Figure 2.15
AEIOU Empathy map.

20
4) The meeting leader records all the sentences on a flip chart and 1 Initiation
asks if anyone has anything to add. The flip charts are taped to the 2 Insight
3 Strategy
wall (numbered). 4 Design
5) Each participant marks out, with a post-it note or marker, the 5 Production
word among all the sentences that they think best describes the 6 Management

company. 1.1 Initial preparations

6) The selected words are rewritten on flip chart sheets, and everyone 1.2 Project brief
works together to find synonyms, or come up with new words that 1.3 Initial meeting
1.4 Initial workshop
describe, explain, and express the company. The words should 1.5 Project description
sound good, be easy to pronounce and easy to understand. 1.6 Progress schedule
7) Participants are instructed to write down new sentences using the 1.7 Price quotation
1.8 Contract
selected words to describe what the company does. This can be 1.9 Team collaboration
done individually or as a brainstorming session.
8) The best sentences are recorded on flip chart sheets. Steps 5, 1.4.1 Purpose of initial
workshop
6 and 7 can be repeated until there is a result that everyone is 1.4.2 Workshop preparation
satisfied with. 1.4.3 Workshop invitation
9) In conclusion, the result can be used to clarify: 1) What the core 1.4.4 Workshop facilities
1.4.5 Workshop
business is? For example: A grocery store sells groceries. 2) In management
which industry does the company operate? The grocery business. 1.4.6 Workshop execution
10) The chairperson praises everyone enthusiastically and emphasises 1.4.7 Workshop report
1.4.8 Workshop process
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 success
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 (3.2.3 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.3

Question 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 1 above. Each participant

Further reading
answers individually on their own paper. The Workshop Book (2016)
1) Each participant writes down as many internal problems as they by Pamela Hamilton.
can think of, and ticks the most important one.
Project description
2) Each participant reads out the most important internal problem.
= description of the
3) The chairperson lists the most important problems on flip chart sheets. project, problem and
4) Everyone goes up and puts a Post-it note on, or underlines, the project goal.
problem they consider most important.

21
5) Everyone contributes to the preparation and completion of the Tips for the designer
list. The three main problems are highlighted. Remember to enter the title
and number on the flip chart
6) The chairperson lists the main internal problems in order of priority. sheets. Take photos of them
7) Once internal problems have been clarified, the process is repeated for the record. It may be a
in order to clarify external problems. good idea to keep them. You
can hang them on the wall or
lay them on the floor, stand on
NOTE: Another option is to bring up all the problems first, and eventually them and walk on them, while
sort them into internal and external. The results of this exercise provide you work on processing the
contents and write the report.
good basis for a simple SWOT analysis (2.7.10 SWOT analysis).
Tips for the client
Sustainability considerations
Question 3: What is the project goal, level of ambition, and expected should be taken from the
results or impact? project launch. Read more in
6.9 Sustainable management.
1) Use the prioritised problems from question 2 to answer this question.
2) Discuss this across the table: Which of the problems the design A project description is
project should help solve? an overview of what the
3) Clarify the project goal through new questions or brainstorming. project should include
and why it should be
4) Clarify whether or not there are guidelines regarding name, logo, conducted, without
visual identity or anything else that the designer must take into delving into how the
account in the project. And discuss what opportunities for possible project should be solved.
(Eby, 2021)
changes the project offers.

1.5 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
(2.3 Problem statement, 1.7 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 necessary to measure
knowledge both before and after project completion in order to compare
results.

22
 1 Initiation
Project description outline 2 Insight
3 Strategy
The content of the project description of a design project will vary
4 Design
for different projects. Here is an example of an outline that can be 5 Production
used as a disposition. 6 Management

1.1 Initial preparations

Project title: Work title of the project. Date. 1.2 Project brief
Introduction: Company name and contact person. Design team 1.3 Initial meeting
1.4 Initial workshop
and contact details. Brief explanation of why the designer was
1.5 Project description
contacted, and what meetings and activities have been car­ 1.6 Progress schedule
ried out. 1.7 Price quotation
1.8 Contract
Overview: Explanation of the project and tasks to be carried out.
1.9 Team collaboration
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
(3.3.6 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 2021/
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.

A strong project
If the content, framework, and scope of the task have not been description provides a
sufficiently clarified, reservations should be made for any changes to roadmap for stakehold­
ers and communicates
the process and budget. If necessary, the project description can be
the vision without get­
adjusted during the project in collaboration with the client, and sup­ ting bogged down in
plemented with a design brief defining what tasks are to be carried out details. (Eby, 2021)
in the design phase (4.1 Design brief ).

23
1.6 Progress schedule Fig. 1.1 The figure shows an
example of a Gantt chart,
which is a type of column or
The progress schedule follows the project description bar chart. There are many
and is a management tool to get a good flow in the work varieties. The chart illustrates
the start and end time dates of
process, and ensure timely delivery. the various tasks in a project
and shows an overview of the
entire project.
At the beginning of a project, it is always necessary to create a progress
Example progress
schedule, regardless of the time frame or scope of the project. The
schedule outline
progress schedule is prepared by the designer and presented to the Introduction:
client along with the project description and budget. The purpose of a – Project name
– Date
progress schedule is to obtain an overview of the work to be carried out,
– Brief description of the
and to create a schedule that ensures continuity and progress in the project, or reference to
project up to the delivery deadline. The progress schedule also provides the project description.
a good indication of the resources needed in the various project phases Chart:
and is a good starting point for allocating tasks and responsibilities. – Timetable
– Tasks
An ambitious timetable is an advantage for getting the project – Distribution of
off to a good start, but progress should be realistic, and sufficient time responsibilities
should be allocated for the proper implementation of various parts of – Priorities
– Presentations/meetings
the project. In order for the progress schedule to be of any significance, – Partial deliveries
it must be followed up and adjusted in the event of changes or delays – Production
along the way, which is usually the responsibility of the project leader. – Final deadline

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 5% 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 (1.7 Price quotation).

24
 Presentation sketches

Print house meeting

Initial meeting

Delivery
Presentation solution
Strategic workshop
Interviews/surveys

Presentation ideas
Strategy meeting

Adjustments
Creative workshop

Printing
1 Initiation
2 Insight
3 Strategy
4 Design
5 Production
6 Management

1.1 Initial preparations

1.2 Project brief
1.3 Initial meeting
Initiation 1.4 Initial workshop
— Project description 1.5 Project description
1.6 Progress schedule
1.7 Price quotation
Insight 1.8 Contract
— Situational study 1.9 Team collaboration
— 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
— Printing

Management
Profile manual

Week number 12 14 16 18 20 22 24 26

Progress Remaining

Fig. 1.1 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 1.1. 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.

25
1.7 Price quotation Tips for the designer
Wait until the assignment
has been clarified to prepare
Price quotations are the designer’s price proposal to the price quotations for design
client used as basis for negotiating the final pricing of a work and production. Instead,
give a price for a workshop
project or service. The quotation estimates the use of or preliminary project to
investigate the assignment.
time and resources and defines applicable payment terms Results from initial investiga­
and conditions. In case of quotations in procurements, tions and strategy work may
often lead to changes in the
pre-defined assumptions and frameworks usually apply. design project beyond what
was originally intended.
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?

26
 1 Initiation
Price quotation template 2 Insight
3 Strategy
Main page:
4 Design
Client: Name of client/company: Document type: Price quotation. 5 Production
Sender: Name, business name and logo. Project: Name of project. 6 Management
Highlighted.
1.1 Initial preparations
Introduction: 1.2 Project brief
Designer/Design agency: Brief information about us and why we 1.3 Initial meeting
1.4 Initial workshop
have been chosen.
1.5 Project description
Design team: Names and roles. Project leader and contact person. 1.6 Progress schedule
Client: Brief information about the company, product/service. 1.7 Price quotation
1.8 Contract
Project group: Names and roles. Project leader, decision-maker
1.9 Team collaboration
and contact person.
Background: Brief description of the company, current situation 1.7.1 Price request
1.7.2 Price setup
and the challenges or needs that have prompted the initiation of
1.7.3 Terms and conditions
the project. 1.7.4 Negotiation
Project description: Summary of the project description. The 1.7.5 Hourly rate
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 strategy 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

27
and size of the project. The same applies to the client’s ability to pay. Tips for the designer
For example, creating a new logo for a bank will be a larger and more You should consider declin­
ing a project with unrealistic
comprehensive process than creating a logo for a small business, because framework and assumptions
designing a new logo/visual identity for a bank is likely to require more rather than risking delivering
extensive research and strategies, more extensive design process with something that you will not be
proud of.
more idea concepts and sketching rounds, more meetings with more
decision-makers, and so on (1.5 Project description).

1.7.1 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 (1.6 Progress schedule).

1.7.2 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 concluded with a
short version of the progress schedule. A good 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.

1.7.3 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

28
quotation, etc., and what is not included in the price. There should not 1 Initiation
be too much surcharge in the price. The client should normally have as 2 Insight
3 Strategy
much predictability as possible. Here are examples of how conditions 4 Design
can be formulated: All prices exclude VAT, shipping, travel, production, 5 Production
printing. Purchase, rental, or development of an illustration or photo is 6 Management

not included. Purchase of fonts, dummy development, continuous costs 1.1 Initial preparations
for materials and tools, or other unforeseen expenses are not included. 1.2 Project brief
Phase 1 is invoiced when the project is assigned. Furthermore, 50% of 1.3 Initial meeting
1.4 Initial workshop
each phase is invoiced at the start of the phase in question, and the 1.5 Project description
remaining 50% is invoiced at the end of the phase. Invoices fall due with 1.6 Progress schedule
10 days’ notice. We reserve the right to adjust the price quotation in case 1.7 Price quotation
1.8 Contract
of changes/additions to the agreed starting point. Work and meetings 1.9 Team collaboration
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 1.7.1 Price request
1.7.2 Price setup
long. The price quotation includes two rounds of editing/proofreading; 1.7.3 Terms and conditions
additional editing entails a price surcharge. We will keep you posted on 1.7.4 Negotiation
any additional costs for the prices to be approved in advance. The price 1.7.5 Hourly rate

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 4, 5 and 6 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 (1.8 Contract).

1.7.4 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.

1.7.5 Hourly rate

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
Invoice
profit. Fixed costs such as premises, equipment, software and other operat­ Invoice/bill is a sales
ing costs are usually higher for a larger design agency than for an individual document. Invoice
number, invoice date,
freelancer, which will affect the hourly rate calculation. Furthermore, an
buyer’s name/address,
experienced designer or a profiled design agency will often be able to charge seller’s name/company
more for their services, based on reputation and demand. Other factors reg. number, description
of the goods, specified
that matter are competence, efficiency as well as the designer’s ability to
price + VAT if applicable,
negotiate good terms by conveying the value of their services. An example and due date are added
of that is the value of a logo. Rated as a piece of graphic work, it will have to the bill.
lower value than if it is rated by virtue of its brand value and scope of use.

29
 Tips for the client
Terminology Pushing the price too much
might compromise the quality
Price: Price is a payment for output or service. The use of the
of the product you receive.
phrase ‘price’ signals that there is a price without specific basis The price reflects the time
for negotiation, as opposed to wordings such as price quotation the designer estimates for
project completion. If rel­
or suggested price, which leave room for negotiation. The agreed
evant, you can negotiate the
price and the invoice sent to the client after the project has been hourly rate, or reduce the
completed must be consistent. Make reservations. scope and level of ambition of
the project, which can mean
Price quotation: Using the wording ‘quotation’ may signal that the
fewer sketches, fewer meet­
price implies a price reduction or discount, which makes acceptance ings, etc.
of the price more attractive.
Price suggestion: 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 4 VAT vs. GST: ‘VAT stands
or brochure has not been determined. This will affect both the price for Value Added Tax and it is a
consumption tax applied to
of design and production (programming/printing).
the purchase price of goods
Draft price: When using the wording ‘draft price’ or ‘price estimate’, and services. GST stands for
to a great extent you open negotiations. When drawing up a price Goods and Services Tax and it
is a consumption tax that is
estimate, it is important to make the necessary reservations pro­
imposed upon the cost of
vided that the price is not to be perceived as binding. goods and services. Both GST
Budget: A plan to show how much money a person or organisation and VAT are taxes that share
the same characteristics but
will earn and how much they will need or be able to spend (Budget,
have different names. The only
n.d.). Budget in a design assignment means that you prepare a differences between these
statement of expected costs related to the design project over a taxes derive from the specific
rules that each country apply
specific period. The purpose of a budget specification is for the
on the taxes themselves such
client to get an overview of the costs associated with your services as: tax rates, items exempt
and to implement it in its business budget. State clearly whether the from tax and the requirements
of registration’ (Global VAT
prices in the budget are merely an indication or estimate and make
Compliance, globalvatcompli­
the necessary reservations about changes and any additions to the ance.com)
price. If relevant, you can call the budget provisional (Sending, 2007). 5 Professional organisations
for designers, such as
Budget estimate: Temporarily calculated budget. When preparing
AIGA (The American Institute
a price estimate it is important to take necessary precautions if the of Graphic Arts), ICoD (Inter­
price is not supposed to be experienced as binding. national Council of Design),
GDC (Society of Graphic
Tender: Tenders are offers in connection with a procurement.
Designers of Canada), Design
Pursuant to public procurement regulations, tendering is required Council of UK, as well as simi­
for procurements above a certain threshold. In a procurement, lar associations in other coun­
tries, provide advice and
negotiating the tender or amending it after the closing date for
guides to copyright, as well as
submission of tenders is prohibited. Sometimes tenders are com­ standard forms of agreements
monly referred to as a price offer. that may also be available
online i.e. ‘AIGA Standard
Dispute: If the parties fail to reach an agreement, the matter may
Form of Agreement for Design
be referred to the Conciliation Board or to the Consumer Council. Services’.
VAT: It is common to specify a price on design services exclusive of 6 Competition Act or competi­
tion Law is a general term used
VAT (or GST).4 Design projects are usually B2B, i.e., the designer
relatively similar in different
sells their services to businesses and not consumers. Companies countries for a law that pro­
liable for VAT receive VAT refunds on incoming invoices. Therefore, motes or seeks to maintain
market competition by regulat­
it is the price without VAT that is the amount they actually pay. VAT
ing anti-competitive conduct
is calculated as a percentage of the price and added to the invoice.5 by companies. Taylor, Martyn
Invoice: VAT or GST number and company registration number D. (2006). Competition law is
implemented through public
are added to the bill.
and private enforcement.
(Cartel Damage Claims, CDC).

30
 Supply, demand and market price are factors affecting the value 1 Initiation
of most goods and services, including design services. Design services 2 Insight
3 Strategy
are among the services that are generally sensitive to market economy 4 Design
fluctuations, where a decline in the market economy may result in 5 Production
less willingness to pay compared to when business is doing well. That 6 Management

is an example of why designers can experience great competition 1.1 Initial preparations
and price pressure at times, and one may feel pressured to lower the 1.2 Project brief
price. The designer should avoid offering too low a price, as this might 1.3 Initial meeting
1.4 Initial workshop
contribute to giving buyers of design services an incorrect picture of 1.5 Project description
what a design service should cost and what quality to expect. Price and 1.6 Progress schedule
quality are interconnected. Creating good quality work requires time 1.7 Price quotation
1.8 Contract
and resources. In order to maintain a proper price level and ensure the 1.9 Team collaboration
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.6 Nevertheless, a
good indicator may be to use salary surveys conducted 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.

1.8 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.

31
A contract addresses issues related to the delivery that has been agreed Tips for the designer
on and the conditions that apply in the event of changes. ‘A well-written You should avoid working for
free to qualify for a design
agreement clarifies expectations, prevents common misunderstand­ assignment. If sketches are
ings, and helps avoid potential legal problems’ (Aiga Standard Form of needed at an early stage you
Agreement for Design Services 2020).7 Here are some key factors that might argue that insight is
necessary to create some­
should be included in a contract between the designer and the client: thing of value. Suggest an
The parties: Name and data of both parties of the agreement. initial workshop as a start.
Delivery: Specific description of what the assignment concerns and It can provide some insight
and strategic anchoring. You
what is to be delivered. Consequences concerning a change in delivery, might also suggest an initial
resulting in additional or reduced work for the designer. Consequences quote for the workshop
if the designer does not deliver as per agreement. and sketches. Get a written
confirmation of what you have
Price: Specific description of the agreed price, VAT (or GST), payment agreed on and at best sign a
deadline, late payment claims, conditions for additional work for the contract.
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 Act8 are clarified,
and any transfer of ownership to the client is confirmed.
Duties and responsibilities: 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.

1.9 Team collaboration

7 AIGA (The American Insti­

In a design project, assembling a team with the right quali­ tute of Graphic Arts) is a pro­
fications is a success factor, as well as embracing diversity fessional organisation for
design, including communica­
and differences. tion design, including graphic
design, typography, interac­
tion design, user-experience,
It is crucial to create a good working environment in the team, and help branding and identity.
8 A copyright Act is the body
make each other better, so that everyone can unlock their greatest poten­ of law that governs the pro­
tial. It is just as important to establish an open and trustful collaboration tection of the ownership and
with the client. Good team dynamics and a common level of ambition are usage rights for creative
works including works of art
required for a group of people to function well and essential for the quality and books, among other types
of the results that can be achieved together. A prerequisite is careful goal of media. Each country has its
formulation and planning, as well as a conscious allocation of responsi­ own domestic copyright laws
that apply to its own citizens,
bilities and quality assurance during the various phases of the project. and also to the use of foreign
A design project can be completed by one person alone, or it can be content when used in one’s
carried out by several people in collaboration. Working together can have country (copyrightlaws.com).
9 ‘How Diverse Teams Pro­
many advantages, including bringing more expertise, views and ideas to duce Better Outcomes’,
the project. Assembling a good project team is first and foremost about Beilock 2019, Forbes
ensuring that the right qualifications are represented among the project 10 ‘Diversity wins’ is one of
three reports from McKinsey
participants. These qualifications may be present within the design investigating the business
agency, school environment or one’s workplace, but they may also be case for diversity.

32
acquired externally. Project teams that gather together to complete a 1 Initiation
task may be people who know each other well and have good experience 2 Insight
3 Strategy
of working together, or they may be people with little to no knowledge of 4 Design
each other. Some may initially feel unsafe working with people they do 5 Production
not know, while others may experience this as inspiring and motivating. 6 Management

Either way, it is a good start to begin a team collaboration by creating 1.1 Initial preparations
predictable and secure relationships, with a high degree of trust and 1.2 Project brief
empathy. A good team collaboration will also have a positive effect on 1.3 Initial meeting
1.4 Initial workshop
the relationship with the client. Inviting the client to collaborate in the 1.5 Project description
project can be beneficial as well. By involving the client in the project work 1.6 Progress schedule
it might be it easier to speak together about ideas and the client will more 1.7 Price quotation
1.8 Contract
easily stand behind the solution that is promoted. As a consequence, 1.9 Team collaboration
it will also simplify the implementation of the solution in the company.
1.9.1 Control loop
1.9.2 Gameplan
Inclusive and diverse 1.9.3 Agile process
How do we define who the right people are when assembling a team? management
Having the right team of people to help generate ideas to propose is
– Inclusive and diverse
critical. Studies show that a diverse selection of people in a team can – Qualifications
be more successful. ‘From the classroom and the workplace, to the – Level of ambition
laboratory and the playing field, research shows that diverse groups of – Goals and tasks

people often make better decisions’ (Beilock 2019, Forbes).9 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., 2020, McKinsey).10

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 start 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 Further reading
techniques and materials? Are you good at quality assurance, etc? The 101 Team Building Exercises:
To Improve Cooperation and
point is not just to do what you are good at. A good start would be to Communication (2020) by
map out the different qualities of the group. This can simplify the work Mr. Herman Otten.

33
on planning how the roles are to be distributed within the group. One Fig. 1.2 The figure shows a
person is often suitable for several roles. Roles can also go hand in hand, control loop, a project man­
agement tool based on West­
although in a design agency it is most common for individual project hagen (2008). Goal
participants to deliver on their top expertise. formulation: Decide and
describe what the project will
result in. Planning: Break down
Level of ambition the goals into elements, which
Each person’s level of ambition is another important aspect to clarify can ensure that we perform
when assembling the group. Level of ambition in this context means how the task expediently. Execu­
tion: Management, communi­
much time and resources you want to put into the project. It is about the cation, resource use, team,
personal goals you have in the project, what you envisage that you can motivation. Follow-up: Record
contribute, and what significance the result has for you. This depends what is happening in the pro­
ject and compare with plan
on the effort you want to put in. Some will stretch a little extra to achieve and goals. Manage necessary
the best possible result, while others may be satisfied if it is good enough. corrections in goals, planning
In those projects where each person is paid according to effort, it can and execution.

create a good balance. This is not always the case in projects where
Walk the talk:11 It is OK
profits should be shared equally, or in a school setting where everyone to fail. It is OK to have
in the group gets the same grade, or if your salary enters your account ambitions. What you
every month regardless of effort. Having differing levels of ambition in pay attention to grows.
Leave your comfort
a group can lead to collaboration problems, because some may feel they zone. It is OK to fail. It is
work more than others. Often you have no options to choose from. The OK to have ambitions.
group is what it is. In other words, you are put in a group. Group members What you pay attention
to grows. Leave your
might not only have different levels of ambition, but also different levels comfort zone.
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 2:00 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 11 The phrase ‘Walk-the-Talk’
the goal and which problem needs to be addressed? In some projects, means putting words into
action, i.e. implement in
the goals and tasks have been clarified by the project owner, who can practice the things you say
also be the client. In other projects, this is something the project team you will do.

34
needs to work on in order to establish. The project may have one main 1 Initiation
goal and several subgoals, or the project may be divided into several tasks 2 Insight
3 Strategy
and responsibilities. In any case, it is important for group dynamics and 4 Design
collaboration to move more or less in the same direction, towards a clear 5 Production
and well-defined goal (3.3 Goals and subgoals). The project leader has a 6 Management

central role in leading the group, but it is the individual’s responsibility to 1.1 Initial preparations
lead themselves. Once the meter is in place, the planning and distribution 1.2 Project brief
of work tasks can begin. It is through the tasks that the execution of the 1.3 Initial meeting
1.4 Initial workshop
project takes place. The project leader must ensure that the tasks are 1.5 Project description
evenly distributed and that everyone has a relevant task to complete. 1.6 Progress schedule
One problem that can arise here is that activities are often based on each 1.7 Price quotation
1.8 Contract
other, as a result of which not everyone will have the same amount of work 1.9 Team collaboration
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 1.9.1 Control loop
1.9.2 Gameplan
in additional work by having to redo the work. Follow-up and quality 1.9.3 Agile process
control are important in all project phases, right up to the delivery of management
the completed solution, to ensure that the achieved result complies with
– Inclusive and diverse
the goal. A good way to do that is to define checkpoints as part of the – Qualifications
project plan so that any non-compliances or errors can be followed up – Level of ambition
along the way and adjusted at an early stage (5.5.6 Workflow). – Goals and tasks

GOAL FORMULATION

Goal Corrections

PLANNING FOLLOW-UP

Plan
Progress

EXECUTION
Input factors Result
(control object)

Fig. 1.2 Control loop

1.9.1 Control loop

Westhagen’s control loop (Westhagen et al., 2008, p. 31, Wiik 2015) 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 1.2. 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

35
and working more efficiently. Other times it is necessary to change the Fig. 1.3 The figure shows
project deliverables and thus change the goal formulation. The term gameplan (based on Aakre and
Scharning 2016/The Grove
loop indicates that we must go through this loop many times during a Consultants International).
project. Every time we follow up on a project, we usually have to go in and Gameplan is a dynamic project
correct something. Projects do not have a static implementation plan management tool that the pro­
ject team creates together,
but are carried out dynamically. This is also called agile implementation manually or online by for
(4.3.5 Iterative method, 4.3.10 Lean and agile). example using Virtual Strate­
Progress schedule: Initially, create a progress schedule, which includes gic Visioning Templates Pack
– Digital Download,
all work phases. The progress plan could be updated in the event of grovetools-inc.com.
delays. Where schedules fall short, it is important to put in extra effort © Grimsgaard, W. (2018)
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
(1.6 Progress schedule).
Collaboration 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 resource 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 methods: 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 be
reduced, and it becomes difficult to transfer people from one project activ­
ity to another’ (Andersen et al. 2012) (see also 4.3 Design methodology).
Sustainable 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 (3.3.8 Sustainability goals: Oslo Manifesto, 6.9 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 ceiling 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 12 Miro board: miro.com.
Grove Tools: grovetools-inc.
listening attentively to the other(s) and giving a response that shows com, thegrove.com. Figma:
that you have understood. figma.com. Padlets: padlet.com

36
 Project 1 Initiation
Gameplan description 2
3
Insight
Strategy
Individual 4 Design
goals 5 Production
6 Management
The team Project progress
Name: 1.1 Initial preparations
Process
1.2 Project brief
Role: Proj

goal
1.3 Initial meeting

ect
1.4 Initial workshop
Name: go l
a 1.5 Project description
Role: 1.6 Progress schedule
1.7 Price quotation
Name: 1.8 Contract
Role: 1.9 Team collaboration

Name: 1.9.1 Control loop

Game rules 1.9.2 Gameplan
Role:
Network

1.9.3 Agile process

management
Name:
Role:

SWOT
of the team Quality assurance:

S W Success criteria:

O T Challenges:

Fig. 1.3 Gameplan

Work visually: Use flip charts, mapping methods, images, and sketches
in the process. This simplifies the transfer from strategy to visual solu­
tions (2.8 Mapping).

1.9.2 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 2016,
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.12
1) Start by laying out a roll of paper or a large sheet/poster that you will
A good work environment
use to draw and fill in the items, or choose any online gameplan tool. in the group is a success
When working with gameplan, one can work digitally or with pen and factor for good results.
paper. There are digital game plan tools that make this process seamless

37
(good tools are often free), and the principle of the process is the same. ‘Gameplan not only helps
One option is Grove Tools.13 your team plan the pro­
ject, but it also helps you
2) Project description: Start by entering a concise and precise version implement and evaluate
of the project description/problem you will be working on, in the upper the project’ (Aakre and
right corner of the gameplan, see Figure 1.3 (1.5 Project description). Scharning 2016).

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 (1.6 Progress schedule).
4) SWOT analysis: 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 (2.7.10 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 (3.3.9 Goals for design project).
7) Network: 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 (5.9
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 (1.6 Progress schedule, 1.7 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
13 Grove Tools: grovetools­
in turns. Process management is the art of guiding people through inc.com/collections/graphic­
processes toward common goals in a way that supports participation, gameplan

38
 creates ownership, and triggers creativity for everyone involved. It is all 1 Initiation
about quality management and continuous improvement. The process 2 Insight
3 Strategy
leader is responsible for creating a room for interaction and discus­ 4 Design
sions where everyone involved is given the opportunity to create new 5 Production
solutions, acquire new understanding and make decisions. The process 6 Management

leader plans and directs design processes and actively participates in 1.1 Initial preparations
all phases of a project, from planning to implementation of the finished 1.2 Project brief
product. The process leader has a key role in interdisciplinary teams, 1.3 Initial meeting
1.4 Initial workshop
working with insight, concept development, prototyping and testing. 1.5 Project description
The process leader is in their element when they can create a vision 1.6 Progress schedule
and realise it by inspiring, motivating and challenging others when 1.7 Price quotation
1.8 Contract
needed. Self-motivation is strong, and the process leader can mark out 1.9 Team collaboration
the course and bring others along, even when things are at their worst
(Myhre, 2017) (6.3 Design management, 6.9 Sustainable management). 1.9.1 Control loop
1.9.2 Gameplan
1.9.3 Agile process
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).

1.9.3 Agile process management

In order to have regular status updates, stand up meetings can be

beneficial. Gameplan can be used as a reference (1.9.2 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 3 fundamental questions
regarding their workflow (kanbanize.com):
– What did I accomplish yesterday?
– What will I do today?
– What obstacles, 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 5–15 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
Further reading
and within the agreed time. Raise the alarm. In a design project, such Agile: An Essential Guide to
meetings can be a good way to keep up with the progress, but in addition Agile Project Management,
it will be necessary for the team to gather in workshops, brainstorm­ The Kanban Process and Lean
Thinking + A Comprehensive
ings and meetings for ideation and sharing visual mapping, sketches Guide to Scrum (2018) by
and design solutions (4.3.10 Lean and agile, 4.3.8 Scrum, 4.3.9 Kanban). James Edge.

39
 Tips for the designer
Team contract Keep the team contract
clearly visible when you are
Without good rules, the chances of frustration and conflict
sitting and working. At regu­
increase during the project. The purpose of a team contract is to lar intervals, you can review
agree on the rules of the game. Here is an example of a team con­ the contract and discuss
whether the rules are being
tract based on Aakre and Scharning (2016). See also 1.8 Contract.
complied with and whether
Yes, to differences: Utilise each other’s differences and qualities they help you to function as
as a strength and resource. Respect one another – even when you well as you want and need. If
you see that adjustments are
have different opinions.
needed, you adapt the con­
Knowledge sharing: Challenge each other to take on tasks you are tract to the need (Aakre and
not entirely confident in, in order to learn something new. Help Scharning 2016).
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 9 AM and 5 PM if possible. Be good at making
the work situation more varied. Seek inspiration and impulses
outside the workplace as well.
Stand up meetings: Have regular status updates. Stand up meet­
ings14 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. Let 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.
Sustainable management: Talk together about how sustainability
can be included in processes and solutions (3.3.8 Sustainability
goals, 6.9 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
14 A stand-up meeting (or a
better when there is a good atmosphere and energy in the room. ‘standing meeting’) is a
Back-up: Store all files in a shared folder, file sharing or chat plat­ common term in agile pro­
jects. It is a short meeting
form, such as Dropbox or Google Drive (5.5.6 Workflow).
between a team standing on
their feet. (Kanbanize.com)

40
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