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Archive for May, 2010

When Face set out on its journey to change the world of research and innovation 4 years ago we did so on the belief that the rise of the empowered consumer was going to change the media landscape forever. And we have been proved right.

We recognised that brands needed to find new ways to deal with the same old research and innovation problems. We pioneered the co-creation approach based on a new philosophy of doing things with consumers rather than at them.

This required a fundamental shift in clients research approach, moving them away from thinking of consumers as passive respondents and seeing them more as active participants in the research and innovation process. In this sense we would like to think that we lead our industry to a place where the approach of co-creation has now become widely accepted. But we would not have got there if it were not for the perspicacity of a brave client – a certain Ana Medeiros who was the Global Research Manager of Lynx/Axe at the time. It is fair to say that we both lead each other to a new horizon where the consumer was placed firmly at the centre of a new marketing model.

hubcolorlogos

As I predicted last September in my blog – Co-Creation Will Create a New Breed of Agency, the debate around new industry approaches has moved beyond research and innovation into brand planning and communications. The world of advertising has been slow to react. It is why we were one of the founding members of the London Co-Creation Hub.

It is a debate that has been picked up by the outgoing Marketing Chief of Unilever, Simon Clift. In April he warned of a “lost generation” of brand managers who do not understand the web and social networks. In his final interview before retiring he said he believed public relations agencies were best placed to profit from the rise of Facebook and Twitter, as traditional advertising agencies struggle to adapt to the digital world.

Clift - Brands Need To Catch Up With Consumers

Clift - Brands Need To Catch Up With Consumers

It is not just PR agencies that are moving into the space traditionally occupied by advertising agencies it is everyone, from research to experiential companies; they are all in on the act. And the reason for this is we have all recognized that the consumer is at the heart of the new marketing model not the brand. As Clift remarked “We are all learning. Unilever is ahead of much of the competition but behind consumers, which for marketers is not a comfortable place to be.”

He is absolutely right. A lot of us are behind consumers and it makes for a very bumpy ride  – they are the ones leading the media industry to a new approach, one that is based on doing things WITH not AT. We have a duty both as clients and agencies to the consumer who are, after all, our ultimate customers to develop a new marketing approach that meets their needs more appropriately.

This is not going to be easy but we have to start now. As Clift says it “requires a cultural change for companies like Unilever. We have to listen to genuine customer concerns. Companies aren’t set up for that”.

The worry is they need to be and fast.

Blog, Innovation, Planning

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How to write a great innovation brief

  • Date May 28 2010
  • Posted by Job
  • Tagged with
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Having been on the receiving end of lots of briefs good and bad over the years I have pulled together 5 tips for writing a great innovation brief:

1: What is the opportunity

The most important place to start is to consider whether your innovation brief is driven by consumer insight, consumer/market trends or a new piece of technology, or a combination of the 3.  Context is king in successful innovation; your brief should outline the sources that point to an opportunity for innovation. This part of the brief should include detailed information on the brand, key market trends, target audience, and any new ‘technology’ that might be being involved.

It may be that you are not at the stage when you truly know what the opportunity is, in which case the brief should highlight the need for further primary or secondary research to identify and articulate the opportunities for innovation.
2: What is the scope?

Screen shot 2010-05-28 at 11.41.55

With a clear area of opportunity in mind it is then important to outline the scope of the project. Be clear what type of project this is, for example, is this incremental innovation where you need to tweak an existing product to widen appeal or breakthrough innovation where you are aiming to launch a completely new product or service. This is usually closely related to the time period involved, so are you looking to fill a long-term pipeline, generate short-term wins, or a combination of the two?

The scope should also include details of key internal and external milestones that need to be hit, any internal or external constraints on the nature of the innovation and the final outputs. Importantly your expectations on the number of final innovation ideas you are looking for need to be added.

3: Outputs & Screening Process?

Having articulated the scope it is crucial to communicate the specific screening process that ideas will need to go through and the format of outputs required. If like many large companies there is a quantitative benchmarking and screening process for innovation concepts outputs will need to be written and visualized in a specific format. If there is no formal screening process in place then highlight the need in the brief for the agency to specify KPI’s and a process that will evaluate innovation outputs.

4: Who is in the Stakeholder Team?

Clients play a huge role in the innovation process as the marketing professionals and brand guardians. You have to understand what performance the business needs from its portfolio of brands and products, the problems that those products face in delivering this and the way marketing communications can be applied (alongside the other weapons in the mix) to get the results needed. To get the most out of an innovation brief, the process requires a diverse mix of stakeholders. Be sure to give senior stakeholders a role in the project so they can move the final ideas through the business, while on an operational level specify the role research, product, marketing technical and outside agency teams can play on the project.

5: Practicalities


To finish with there are a few guidelines that will help give your brief real impact. Trying to keep your brief to a maximum of 2 sides of A4 is incredibly useful.  Images and visual stimulus helps to get across key points across and avoiding too much internal jargon wherever possible really helps to avoid confusion about what the brief really is.

Recently I was having an interesting conversation with a friend who had travelled a lot. By travelling, I mean a 4-month road trip across 2 continents. He was telling me how he was held at the Kenyan border; not allowed to cross until the daily armed-convoy arrived. Bandits regularly attack people in the area so no one is able to cross unassisted.

The convoy was scheduled every day at 10am. And every day at 10am bandits attacked it. So, with this in mind, my friend paid the local authority $10 to get a convoy on the spot for his car and cross the border straight away. No bandits attacked him but his 4×4 broke down in the middle of the journey!

The point is that danger is not always where we think it is – and that’s why it is sometimes worth taking a risk.

Far from Kenya, in the world of online creativity, what kind of risk can be taken? How can it be managed?

In my last community blog I explained how creativity flirts with chaos. It is important to leave some unanswered questions in order to give users the freedom to tell their own story, either with the actual web application or within the co-creation task plan, to get the most of their creativity.

This uncertain space leaves two interesting areas to watch out for:

Managing the risk induced by creative tasks/environment

It’s perfectly fine to use your live community to test pilot ideas. However, it’s a massive source of uncertainty and risk, as you cannot plan for how long your pilot idea will need in the test environment.

For example, a new type of task to be performed online, across different cultures, may need lots of time in order to fully understand its strengths and weaknesses.

You can foresee the risk but, at the same time, you can manage it: it’s very important to keep a log of issues and document the lessons learnt.

The community and its users may teach you much more than any theory as each project and group of people will have different behaviours, especially if your work is cross-cultural. For instance, we noticed that Brazilian users were using the commenting feature on blogging tasks much more than our UK community usually does.

Miles Davis - Helping Us Be More Creative Online

Miles Davis - Helping Us Be More Creative Online

Enhancing creativity through risk and facilitate improvisation

On the other hand, there are interesting components when opening the door to risk and leaving some space for users’ creativity.

As explained by Liz Danzico during her lecture at UX London 2010, in the situation of a co-creation session, there is an overlap between the creator’s actions and the consumers. This overlap is the place where improvisation happens.

Illustrating improvisation with the example of Miles Davis’ Modal Jazz, Danzico explains that the improvisation performed by the jazzman isn’t exactly what one would compare to a boundary-free space where anything is possible.

She explains that improvisation must have a proper frame that she defines by the following elements:

  • Improvisation is in the present – as a real-time co-creation with the audience that must be involved all the time
  • Improvisation is detectable – it requires no pre-knowledge (think about Davis jazz versus Chopin’s work)
  • Improvisation is responsive – it defines its own parameters
  • Improvisation is additive – all offers are accepted

Having set this frame, the major challenge that is left is to break with the traditional focus on design (as web app interface design) and turn your attention to the users.

As No Pants Day proves people are ready to improvise.

Because, in the light of the social movements or happenings (for example No Pants Day – see above) people are ready for improvisation and it’s our mission, or even duty, to facilitate it and allow them to release their creativity.

Blog, Co-Creation, Innovation, Insights

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New Things Are Afoot At Face!

  • Date May 26 2010
  • Posted by Esther
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Screen shot 2010-05-26 at 13.54.05
Well I’ve been a bit quiet of late on the blogging front. But its been for all the right reasons!

We’ve been really busy  in the last month or so doing lots of new things, having lots of new experiences and extending our methodology to increasingly diverse briefs and markets.

In last month we’ve done two really exciting projects that I feel are worth sharing and demonstrate our fervent belief in our methodology.

First we’ve been off to India and Australia to work on a ground breaking global brand re-positioning project, for which we pioneered a co-creative approach, delivering a new brand footprint and equity creative brief.

While most traditional agencies and clients would employ a safe, traditional focus group methodology or appoint a big, corporate consultancy, we stayed true to what makes Face Face – intimate, direct and equal interaction between clients and consumers, running workshops in Delhi and Sydney.

We spent 2 days in each market working through a series of co-creative exercises designed to explode and explore 2 potential positionings and allow the consumers to really show us what they want to see and how they want to interact and relate with the brand concerned.

The result is a final brand positioning that is completely consumer centred, exploded, explored and refined, already validated and ratified, and a creative brief that is significantly tighter and more informed than ever before. Less testing required, less risk and uncertainty, and a fuller, earlier understanding of the parameters and possibilities inherent in it.

Screen shot 2010-05-26 at 14.04.52

Secondly, on a similar brief for another client, we have further adapted our methodology to create a more mobile option for co-creation, extending it out of the tried and tested workshop environment and into a more modular, in home environment.

By developing and tailoring our co-creative exercises to work in a more traditional focus group sample structure and setting we can better accommodate problems where regional difference and range is a core consideration for answering the strategic problem at hand. It is also a great option for audiences or subjects where working in a  large group may be inappropriate or uncomfortable.

Co-creation is increasingly becoming one of those marketing buzzwords that any old agency is bolting on to their “offering” and saying they can offer, but it takes the years of experience Face has working directly with clients and consumers to be able to truly stretch the methodology and exploit the incredible potential in it.

Here’s to another year of projects that allow us to push the boundaries…. it’s so much more interesting that way!

We may joke about users being lazy, inpatient and never happy. But we do love them and really want to take care of them!

I spent 3 amazing days at the UX London 2010 conference & workshop; it was a very interesting insight into the not-so-new field of User Experience oriented design.

What is UX?

The first thing that is important to note is that UX is not just a geeky thing. By users, we mean people, as every object does pass a design test. Objects around us are not a material or a tool but a medium to an experience – their design must reflect their use as a medium.

An experience is an ethereal, subjective and intangible thing that is created through the actual existence of users.

Therefore, as a combination of users and their experiences, UX design is centered around the engagement of users with the object, across all senses.

As defined by Jesse James Garrett , UX works on 4 levels:

  • Perception – using the senses
  • Action – using the body (i.e. Nintendo Wii)
  • Cognition – interacting with objects
  • Emotion – engaging with objects

These 4 characteristics must be comprehended within an environment: capabilities of the users, constraints from the users, and context of the experience.

As you may have guessed, UX is an incredibly interesting field, but it’s also an inexact and empirical, as it revolves around unpredictable characteristics. It’s also a new field and the major challenge for UX people is to make the business understand this shift from the object to the medium and the importance of taking care of the experience of the users.

Josua Porter and Jesse James Garrett

Josua Porter and Jesse James Garrett

2 ways to do UX

As explained by Joshua Porter in his lecture about Metrics-driven Design, there are 2 types of approach to UX design.

The first approach is the intuitive approach, which Porter qualifies as a daring instinctive vision.

The second approach is the “Google” approach, based on evidences, where design solves a logic problem, and where the possible solutions are tested and the winner implemented.

The evidence approach involves a “political environment” where the main goal is to get things done and where there is a hierarchy-based decision making process.

This approach creates concepts.

The intuitive approach is based on a “prayer environment” where the results can’t be tested or foreseen and the work is based on wisdom and experience. This approach creates new possibilities.

Screen shot 2010-05-24 at 11.28.47

What to avoid when creating UX.

How to do you do metrics-driven UX?

Across these 2 approaches, Porter suggested the following steps for the designers in order to structure a metrics-driven UX:

1. Identify the design objectives
It’s important to think about what the site is actually meant to achieve. The tricky bit is to make sure that designers and execs are aligning their answers.

2. Map out the UX lifecycle
For this step, you have to question what actions users must do to meet business expectations.

For example, designers can break down the stages for the users to engage with the site. Once this lifecycle is defined, it’s important to focus on what is actually happening between these stages; i.e. what is happening between a sign up and a 2nd visit to the site.

3. Identify the core metrics
Once you have your steps described, designers must prioritise.

Google analytics provides some valuable data for whoever want to feel reassured about the site visits – what Porter calls “Vanity matrix”, however it isn’t enough to actually make decisions for the UX design.

When you look at the figures per steps, you can realize when you are actually losing users (disengagement). UX designers must focus on these drop offs in the funnel of actions.

Cohort analysis also help to understand the needs for a better design: you can compare across the time the engagement of the users: for example, in June, check if the users registered in May, April, Mars are still on the site and what is their level of engagement.

4. Continuous improvement of the lifecycle
This analysis of steps-focused metrics must be carried on all the time: UX redesign happens at each iteration of the site.

It’s important to bear in mind that you can always revert the site to a design that worked better!

To conclude, there are different approaches to UX design, which can both be successful. However, it’s important to focus on the right metrics that are relevant for what user actions the site is aiming at and designed for.