Frequently we hear that “design is a matter of taste and that tastes tend to differ”. Design is then reduced to something that is nice to look at, which isn’t something which can be easily grasped. If you ask customers whether design is important to them then the answer is yes. And frequently design is shrugged off as less relevant.
In the process, it is overlooked what role design has for communication and the consolidation of unconscious drivers of purchase and loyalty. A convincing design language supports identification with the product and the brand. It communicates the fundamental benefits of the product and highlights its credibility as well as constituting its visibility at POS.
If you see design not as an individual task per product but develop a design strategy, which communicates the brand values across all products, you’ll have a sustainable advantage over your competitors.
Is the brand clearly recognisable from the design language?
Does the design differ enough from the competition to be distinguishable?
Does the design win recognition within the competitive setting?
Does the design emphasise the fundamental product characteristics for this product?
What emotional association does the design trigger?
We’ll see you through the process of developing a strategic and sustainably reproducible design.
What impact do I want to achieve with the product design? What behavioural strategies could support this objective?
Quantitative measurement of the five design effects and the active behavioural effects for the own product design and / or the competition.
A collective reflection of the results from the quantitative phase. Deriving behavioural economic challenges, risks and chances. Identification of the objectives for the subsequent co-creation phase.
Development of new design ideas in co-creation sessions with consumers, whereby potential behavioural strategies are tested and evaluated. The ideas, developed within the sessions are visualised by designers.
In a closing strategy workshop the results are presented and then collectively design and behaviour principles are compiled, which are lastingly decisive to the product design.
At the end of the project you can request to receive your own specifically designed tools which make it easy for transferring the compiled knowledge sustainably into your company. By using canvasses, infographics, etc. results remain at the forefront with lasting effect, meaning that the realization can be reviewed anew day in, day out.
Via the online platform customers express and discuss their experiences in their natural setting. The intensive interaction (across multiple days) leads to an in-depth understanding of customer needs. Ideation challenges can be realised and the ideas enhanced further in iterations. This type of research is particularly good when the interaction with the product is at the forefront, and not just the optical design: Respondents receive the products to use at home, their experiences are recorded in a photo journal and then design alternatives are discussed with the other respondents in the forum.
Empathy Game Workshops with a hands-on character. Through the element of play participants find it easier to express their memories and attitudes. Psychological associative and projective techniques help too in exposing unconscious motives and needs. Questions are thereby explored in their entirety. These workshops are particularly suitable for B2B target groups, as they are compact timewise in their realisation, and are particularly good at unearthing the emotional side of scientifically or technically-minded professionals.
For design questions, we use this approach as an entry stage to the quantitative measurement but also for elaborating and reflecting possible new design characteristics. Practically, designers can find out in these workshops which different variations of their designs and design alternatives (colour, materiality, structure, language) have what effect on customers.
In as far as the nature of the product allows we use online data collection methods for measuring the design effects. If its decisive for the product / design to be seen live and to be touched the test design can be set up in a test studio. The questionnaire is completed by the respondent as a self-completion on a computer, without any influence of an interviewer bias. As we’re particularly interested in measuring the design effects and then secondly evaluating them, we use an implicit measurement process, such as the IAT (Implicit Association Test) and continuum scales for relative indexing of design perception within the competitor context.