Typfesto

BRITTANY GARUK

SOCS 309 SU01 Design Research and Methods

Project Three: Generative Co-creation Toolkit

INTRODUCTIONDesign Context

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BACKGROUND INFORMATION

RESEARCH QUESTIONCase Studies

Research

PERSONAS

TARGET GROUP

SUB-QUESTIONSGoals of the Toolkit

Results

Analysis

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Table of Contents

SAMPLINGIncentives

Barriers

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RECRUITMENTQuestionnaire

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SESSION SCRIPTSensitizing

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ENACTING MEMORIESGenerating Ideas

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INSTRUCTIONS BOOKLETToolkit Ingredients

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INSTRUCTIONS BOOKLETToolkit Ingredients

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TOOLKIT ACTIVITIESToolkit Production

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PILOT TESTINGNext Steps

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REFERENCES17

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INTRODUCTIONAbstract

In educational readings such as textbooks and other publications, the curation of additional information plays an important role in guiding the reader through a text. Whether the added info compliments, critiques or questions the main articles of the reading, it should add to the reading experience in some way. Supplementary information can vary greatly in content and in its format, as this material is often expressed visually, or in a way that differs from the main articles. It can be used to break up heavy text blocks, and to allow the reader to pause to reflect, as well as the opportunity to absorb the information in a unique way such as visually. In a generative research study, the favour of certain kinds of supplementary information will be analyzed with the aid of a co-creation session. Using a verbal toolkit, post-secondary participants will expose and offer insight on what additional information can be used to improve the experience of reading an educational typographic journal.

Keywords: generative, toolkit, co-creation, verbal, educational, research

DESIGN CONTEXTThis research study is based off of a project that I did in a Typography class in the Spring of 2016. The assignment was to create a bound book containing six typography articles written by historically influential typographers. The articles vary greatly in length, difficulty and language. They all have radical outlooks on how type should be used and set, the approaches to design specifically regarding typography, and how language and communication should be used.

The six articles are:* Beatrice Warde, The Crystal Goblet or Printing Should Be

Invisible, 1932, introduction by Steven Heller* Filippo Tommaso Marinetti, Destruction of Syntax— Imagination

Without Strings— Words-In-Freedom, 1913, introduction by Rick Poynor

* Herbert Bayer, Towards a Universal Type, 1935, introduction by Jessica Helfland

* Jan Tschichold, New Life in Print, 1930, introduction by Steven Heller

* Josef Müller-Brockmann, Grid and Design Philosophy, 1981, introduction by Helen Armstrong

* Karl Gerstner, Designing Programmes, 1964, introduction by Hel-en Armstrong

The assignment overview states that:“The purpose of this assignment is to introduce the use of the grid in publication design while using first source critical writings in design. You will create a publication layout using the 6 articles we have read so far (Warde, Mari-netti, Tschichold, Bayer, Brockmann & Gerstner). Read the articles carefully; content is key. You will need to device a layout that honours that content even if it is also critical of it. The layout for each article should include: text type, display type, heads, subheads, folios, illustrations (at least 3 per article), captions, and a pull quote. You should also include title page, table of contents, and colophon. You will also have to come up with the publication name.”

A pullquote page in the journal that I created

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The part about creating a system that honours the content is very important for this project. After completing the assignment and producing a journal that which emphasizes the manifesto nature of each of the articles, I received feedback from my instructor which has become the main source of inspiration for this research topic. As I had been mainly focusing on the typographic elements of the publication, I had neglected to choose the additional elements of the journal specifically to achieve something or express something. The evaluation showed that I must focus on the purpose of each photograph, quote, and annotation that accompanied the articles. For this research, I am not looking at what information I should specifically use for this typography journal, because I have already found a theme and message that my journal expresses. I was inspired to instead focus on the idea of educational readings in general, and what supplementary information can be included in order to help guide students through readings and improve their experiences. It is obvious that the more information provided, the more helpful it could be, how-ever the idea is to only include what is necessary, to avoid clutter and information that is not necessarily helpful. I think that the typography journal ‘case’ is interesting because for that project I could not alter the main articles, and I am not interested in seeing what information should be added to main articles in educational readings, but what can be read alongside them to enhance a concept or topic.

BACKGROUND INFORMATIONSome of the resources I used in my initial research:* The Liberated Page: a Typographic anthology by Herbert Spencer* Pioneers of modern typography by Herbert Spencer* Avant-garde page design, 1900-1950 by Jaroslav Andêl* Merz to Emigre and Beyond: avant-garde magazine design of the twentieth century by Steven Heller* Futurist Typography and the Liberated Text by Alan Bertram* Jan Tschichold: a Life in Typography by Ruari McLean* Jan Tschichold: Posters of the Avant-garde by Martin F. Le Coultre* Jan Tschichold: Master Typogrphaer: his life, work & legacy by Cees de Jong* Active Literature: Jan Tschichold and New Typography by Christopher Burke* The New Typography: a Handbook for Modern Designers by Jan Tschichold* Fleuron Anthology by Herbert Simon* An Essay on Typography by Eric Gill* Monotype Special Issue by EYE 84* Letters From The Avant-garde: Modern Graphic Design by Ellen Lupton* Bauhaus 1919-1933: Workshops for Modernity by Barry Bergdoll* Karl Gerstner: Review of 5x10 years of Graphic Design etc. by Karl Gerstner* The Art of Karl Gerstner: Nine Picture Chapters and Selected Essays by Karl Gerstner* Compendium of Literates: A Systems of Writing by Karl Gerstner* Josef Müller-Brockmann: Pioneer of Swiss Graphic Design by Kerry William Purcell* History of the Poster by Josef Müller-BrockmannI also gained a lot of information that served as historical context from my Art History class, & Typography lectures.

Some examples of possible additional content:* authors personal information: date of birth, location, nationality, upbringing, relationships, etc.* authors career information: past notable contributions, awards, business endeavours, partnerships* dates: orienting information by time, when articles were written, dates of movements, notable events, techno-

logical advances* photograph of the author* photographs of work that directly relate to the article: with annotations written by the author* with annotations written by the editor/ me ?* range of photographs of work by the author: context, gives general visual idea of their stance* photographs that show a shift: by others, not the author* by others & the author to situate them, compare them to other works

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* facts that describe the authors future work that they produced after they wrote the article* critical annotations by the editor / me* critical annotations by other critics* interesting but not necessarily relevant facts - memorable?* keywords emphasized / highlighted directly in the text* define terms* further explanation or examination

RESEARCH QUESTIONWhat additional information should accompany readings in educational materials in order to improve the reading experience for post-secondary design students?

CASE STUDIESHow Can Elementary School Teachers Learn To Be Better Teachers?From Convivial Toolbox: Generative Research for the Front End Design by Sanders and StappersI think that this toolkit was very effective in exploring the two main purposes on the research. The goal was to learn where professional development falls within a teachers life, and how and when teachers use professional resources and information. This study looks at how information is used, which is very relevant to my own research question. The toolkit was able to give researchers a valuable insight into the lives of their target group. The teachers complet-ed maps and presentations were kept after the workshop in order to refer back to throughout the design process. I think that being able to keep the participant’s work is very important, as it is a way to ensure that the design and research does not go off track from the participant’s results.

Empathy ProbesBy Tuuli Mattelmaki and Katja BattarbeeThe research goal of this case study was to find out how to communicate gathered data to designers in an empathic and inspiring, but at the same time usable and motivating way. Toolkit ingredients included a diary booklet, sheet of stickers, disposable camera with a list of photo assignments and 10 illustrated cards with open questions. A collage was used at the final stage of research in order to find the spirit of the project, and to reveal the dreams and emo-tions of the participants. From this case study I learned the importance of documentation. The toolkit provided an empathic understanding of a segment of people and their personal and subjective perspectives. The collages helped to communicate the visual and emotional elements.

Co-creation for Exhibition Design. The Case of the HiveBy R. Angelo Croes, R. Konstantios Dranganas, R. Angelo Quintero and C. Bernadette Schrandt The research question for this study was: How can we create a digital toolkit or model that is able to suggest and/or create new, diverging museum experiences? The toolkit that they created was a game for facilitators, and it was used during the conceptualization phase of the design process. The team wanted the toolkit to facilitate co-creation processes that involved all stakeholders in order to bring together museum professionals and potential visitors for the design of upcoming museum exhibitions. The ingredients of the toolkit were 21 activity cards, 10 media cards, an instructions manual, game board, and website. The game allows curators, visitors and stakeholders needs and problems to be understood so that the functionalities of the end product could be defined. It allowed for the defini-tion of elements that constitute a museum co-creative experience.

RESEARCHLearning Styles: Concepts and EvidenceFrom Pashler, Harold, et al. “Learning Styles: Concepts And Evidence.” Psychological Science In The Public Interest

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The purpose of this study was to see if people really should be presented with new educational material through the way that they prefer to learn. An example of this would be teaching materials that are adapted into a visual format to teach a visual learner. The study found that there was no evidence suggesting that this benefits the student. Pashler states that “Moreover, of those that did use an appropriate method, several found results that flatly contradict the popular meshing hypothesis” concluding that “at present there is no adequate evidence base to justify incorporat-ing learning-styles assessments into general education practice”. This study helped me to narrow my focus to just the content of the information, and not the ‘mode’ of communicating content. Upon reading about the study that found that people don’t necessarily learn better if material is presented in a way that matches their learning style, I have decided not to use a wide variety of activities in my co-creation toolkit. I think that it will be easier to evaluate and assess the data if I am not just looking at the format but looking at the actual options expressed. I did choose to create a toolkit that is centred on written modes of expression, mainly because I am interested in the adjectives that the participants use, and because it reflects the nature of the project.

Information Design as Principled ActionJorge Frascara, Chapter 21Reading this chapter was very helpful for me because it also had a focus of testing different methods of education. The participants in this case were children which differ significantly from my research, but I still found some help-ful notes from the reading. The information should be capable for all participants, and familiar but not something that they know in depth. This study showed that the same information can be conveyed through different modes, which I briefly considered incorporating into my research. The team was able to create graphs from the quantitative data that they gathered, which helped them to see the overall results and the direction that the research was leading them. I think that this would be very helpful for my study, but the data that I am collecting is mostly quantitative. I think that I would try to graph any quantitative data that I do get from the questionnaire however, as it is a good method for finding patterns.

PERSONASI created the following personas based off of the predicted participants and with consideration of the sampling methods. I also tried to figure out who would be the most likely, and least likely but still possible users of the typo-graphic journal.

Persona 1Name: Elody MartinAge: 20Experience: studentSchool: Emily Carr University of Art + DesignYear: about to start second yearMajor: Communication DesignSpecialization: interested primarily in brand identity and marketingLives: Fairview, Vancouver, B.C.Home Life: Lives with a roommate in a basement suite, they have a catImmediate Family: Mother, father and younger brother live in CoquitlamEmployment: unemployedHobbies: likes outdoor activities, draws in her spare time, enjoys photographing her lifeWeaknesses: finds it difficult to read long research articles, enjoys studio courses more than academic coursesStrengths: working with users to create work that suites their needs, market analysis & industry research skillsCharacteristics: motivated by experience and knowledge, not grades, works best with others, takes on a leadership roleWants: to learn skills from school that will help her practice, wants to learn how to improve her communication design skills technically and conceptuallyProduct desires: wants to be able to use what she learns and extract key information that she can refer back to easily

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Persona 2Name: Samuel JacobsAge: 18Experience: studentSchool: Emily Carr University of Art + DesignYear: about to start first yearMajor: wants to go into design, unsure of majorSpecialization: more interested in a broad range of design areas, interested in interactive elements and service de-signLives: Downtown, Vancouver, B.C.Home Life: Lives alone in a studio apartmentImmediate Family: Mother and Grandmother in EdmontonEmployment: works part-time as a serverHobbies: enjoys reading and learning about a diverse range of subjects, goes joggingWeaknesses: not detail oriented, likes to move onto new endeavours quicklyStrengths: fast learner, good at networking, enthusiastic, confidentCharacteristics: easily distracted, forward thinkingWants: to be prepared for his first year of universityProduct desires: to learn interesting aspects of the history of typography, because they don’t know anything about typography yet

Persona 3Name: Sarah ChangAge: 25Experience: student, has Bachelor of Design from Emily Carr University with major in industrial designSchool: Simon Fraser UniversityYear: about to start a Graduate Certificate program for Development and SustainabilitySpecialization: sustainability, product designLives: Kitsilano, Vancouver, B.C.Home Life: Lives with boyfriend in an apartmentImmediate Family: Parents live in Seattle, brother lives in San FranciscoEmployment: currently doing contract work for a chain of restaurants, web designHobbies: socializing, volunteers cleaning up beachesWeaknesses: finds linguistic learning very challenging, resists theoretical researchStrengths: strong verbal communication, hands on learnerCharacteristics: persuasive, high energy, friendlyWants: to learn about typography to help with the web design job that she hasProduct desires: wants the manual to enrich her limited graphic design knowledge so that she can meet her clients graphic design needs

TARGET GROUPFrom the personas I gathered that the three main qualities of participants are that they are a person who is an active learner (student), someone learning about design and/or typography, and someone who has some previous knowl-edge of design. There are some qualities that I found may be likely but not in the majority of the users. These quali-ties are; having very little knowledge of typography (just what it is), and not being a strong linguistic learner. Based off of these descriptions, the target group for this research is post-secondary students in the design field who have some, but not extensive existing knowledge about typography, and an interest in it. It is likely that the journal would be a required reading in a course, although some participants may use it for their own research for a school related project.

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SUB-QUESTIONSThe generative toolkit should reveal the values that participants have regarding their receiving of new information. It should expose what is most helpful for participants to be engaged and interested in educational materials. The toolkit will create leads and generate ideas about what kind of supplementary information can be eliminated, as well as the direction towards the information that should be included.

GOAL OF THE TOOLKITTarget participants are design students who have finished their foundation year, but do not have extensive knowl-edge on typography. They could be from any discipline of design, and range in ages of 18-26. For the toolkit I do not think it will be necessary to only include participants from the design field, as the study is not specific to the topic of typography, but rather what can help people to get through a challenging text. I will invite participants from any dis-cipline who are students to take part. I will stick with the age range of 18-26. The toolkit that I develop will be used at an iterative phase of development in the design process, in conjunction with other methods of research which will occur prior to, and after the toolkit. The primary goal of the toolkit is to gain an insight into what participants find to be helpful information. I would like to see what kind of content they would choose to stand beside an article, and what helps them make associations which aid in memorization (Valiant, 2005). I would like to get an in depth understanding of the preferences of the target group in relation to visual, and anecdotal information as a support to a heftier text

RESULTSThe results gathered from the co-creation toolkit will help expand my understanding of the research question as they will give the project a direction. Currently there is no direction, as the input of participants is necessary in nar-rowing down the possible solutions as well as exploring ideas that I had not previously considered. As the partici-pants are also experienced in design, their opinions and the data that is gathered from them will have a big impact in finding the optimal combination of content to support and/or accompany the main articles. The data gathered will be qualitative, so I will be looking for patterns as well as popular responses in order to determine the overall values of the participants. The data from the Editing Activity will be somewhat visual, which will be considered but not as significant data as the placement hints at importance, but the study is more focused on the content, not aes-thetic values. The data gathered from the Reading Analysis Discussion will be verbal, and completely up to how the conversation progresses. I have certain topics to discuss, but the participants will be ultimately determining what topics will be covered. I will use the transcripts from the discussion to highlight keywords and adjectives that were used often.

ANALYSISAnalysis on the wall will be the best way for me to analyze the data for this current project. I think that I would be able to bridge the gap between gathering and conceptualization at a knowledge level, focusing on big picture ideas, fundamentals and radical issues. Although direct suggestions may be offered and considered, it will be the most beneficial to think in broader terms at this point in the process. The toolkit will enable me to gain a lead and see the most popular as well as the unique opinions and perspectives. Gaining this insight is necessary in moving on to any further investigation, or development of a theory. I think that I would also use the laddering method to organize the different levels of interpretation and show alternatives. I will be using a video camera to record the session which will help greatly in accurate recording of the events. As mentioned in Sanders and Stappers Convivial Toolbox Chapter 6, it is very important to ensure that all data is labeled correctly with as much detail as possible (Sanders, Stappers). The video camera will capture the exact wording of each verbal response and contribution, the time, the context, and the identity of each participant. Being able to review the footage will help in sorting and finding patterns throughout the design process. I will be using the Data, Information, Knowledge and Wisdom method of analysis. Knowledge will be gathered and generalized from each piece of individual information in order to create a theory.

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Specifically, I will write down my own observations and impressions right after the session. Then I will review the footage of the session as well as the work produced by each participant multiple times. Each time I will focus on one thing, and record the results based on category on the wall. Using post it notes will help me to group and arrange the data. This will take time, but the physical handling and consideration of the data will help me to discover pat-terns and themes from the data, as well as being able to look at everything from a different vantage point.

The analysis will begin at the iterative development phase of the design process. This effects the scope of the re-search and analysis as finding ‘solutions’ to the problem space is considered. The analysis will help in finding inspi-rational as well as some more literal solutions, and continue to inform the process through to the end, and all other back tracking, repetitions and iterations of the project.

PURPOSIVE AND OPPORTUNISTIC SAMPLINGI want to get a broad sampling of participants who fit the target persona qualities but also those who fit extremes and people in between in order to find unexpected and interesting insights. The end-product is not intended only for the most likely person to read it, but also to make learning about modernist typography theories interesting for others that might be unfamiliar with typography. I want to find ways to make theoretical research interesting in a broad sense, for a variety of learners. Although I would prefer not to use opportunistic sampling, considering my limited resources, it is the most practical option. The requirements for participating in the co-creative research are as follows:

* being a current post secondary student* have any amount of experience in design* older than 18* must have access to a computer

INCENTIVESThe incentive for participants will be a $5 Starbucks gift card which they will receive at the end of the co-creation session. I am including this incentive because although it is small it will show professionalism and respect for the project and the value of the participants contribution. Other likely incentives include the desire to be involved in a step towards change in an area that the participant cares about. The participants are chosen because they spend a considerable amount of time reading material that they are either required to, or have chosen to in order to improve their work. Being able to impact something that one is directly involved with is a motivator in addition to the incen-tive that I will provide (Grolnick).

BARRIERSWhen I stared to plan the co-creation session, I was under the impression that I would need to find participants, so I started the recruitment process, then terminated it upon realizing the breadth of this project. When contacting potential participants I did receive some interesting responses from people who did not wish to participate that hinted at some of the barriers of the co-creation session I planned. In my outreach to people I stated the exact date and location, and approximate time of the session, and two people were not able to make it just due to a conflict in setting. One person was out of town, and the other had to work. I had decided on the day based on my own avail-ability, and the time frame due to one participant’s work schedule. I now know that in the future I can avoid this barrier by deciding on the time and date of the session after the first contact with participants. I found that time was a conflict in other studies, and that simplifying the paperwork process and utilizing online methods of data collec-tion is recommended in order to minimize the time that participants invest in the project (Brodaty, Gibson, Waine, Shell, Lilian, & Dimity).

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RECRUITMENTThe recruitment of participants will involve me reaching out to those who I know, as well as some of my contacts spreading the word to others. As I fit the requirements of a participant, I know many people personally who would also be able to participate. I will be mentioning the incentives of participating, but I find it likely that many who participate will be motivated just by helping and being able to voice their opinions.

Co-creation Session

QUESTIONNAIRELink to the questionnaire: https://docs.google.com/forms/d/1lP9f7ogn6An20qy9r9iHksWltGkE8XB4jzOWk91wzn8/viewform?c=0&w=1&us-p=mail_form_link

The questionnaire that I have created to preface the co-creative toolkit is intended to act as almost pre-sensitizing material. In addition to helping me get to know the participants better, the questions reveal the direction of the co-creation session so that participants know what to expect. The questions help me to verify that the participants fit the requirements for taking part in the research study as well. I will be sending out the questionnaire via email to the potential participants after I have made initial contact with them, and they will have a week to submit it. I chose to create the questionnaire as a computer-assisted self-administering interview through Google Forms for a number of reasons. For convenience, since I will be making the first contact with the participants through email and text, continuing all contact with them through digital means will be consistent. Additionally the participants can fill it out at their own convenience without having to mail it in, or arranging to drop it off in person. The online format allowed me to use contingency questions, which are helpful in assuring that the participant is only asked questions that apply to their responses so far. For example, the participant not be lead to the question that asks about their level of experience with typography if they selected “none” for the level of experience that they have with design. As typography is a field of study and practice within the broader study of design. I offered partially open quests so that the questionnaire is exhaustive, and every respondent has a choice that they can select and the questionnaire does not exclude people. The questionnaire uses a funnel sequence to move into more specific topics. The questions start

Left: the email that potential participants will receive with the questionnaireRight: the first portion of the questionnaire

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Left: second portion of questionnaireRight: third portion of questionnaire

Left: fourth portion of questionnaireRight: fifth portion of questionnaire

Final portion of questionnaire

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out very simple about who the participant is, and then move on towards their experiences and opinions in longer answers. I also find the online form successful is allowing participants to feel as though they can answer however they want, in whatever amount of detail they see fit. An example of this is that for short and long answer questions there is not a certain amount of space given for participants to write, they can write however much they want and the text box will keep expanding. There are no visible expectations for the length of written answers.

I will be using the data collected from the questionnaire to inform and personalize the co-creative session as well as confirming the participants, and terminating participation for some that do not fit the requirements. I would say that the online questionnaire sensitizes participants to receiving and responding to material for the study online, getting used to checking their email frequently. I will consider their short and long answers thoughtfully and will use them to adapt the Reading Analysis activity accordingly. This will be an opportunity to gauge the experience and knowledge of the participants in relation to the research question.

SESSION SCRIPTBefore Session:* two weeks before session, send out questionnaire* one week before session, send out instructions for Reading Analysis homework* one week before sission, send research participation and consent agreement forms* Session: from 6:00pm to 7:00pm* begin recording with video camera* first 5 minutes, introductions, hand in and fill out consent (6:00pm-6:05pm)* next 5 minutes, Stream of Consciousness writing exercise (6:05pm-6:10pm)* next 20 minutes, Discussion of Reading Analysis (6:10pm-6:30pm)* next 20 minutes, Editing Activity (6:30pm-6:50pm)* last 10 minutes, conclusion, questions, comments, hand out incentive gift cards (6:50pm-7:00pm)Stop recording once everyone has left

Path of Expression

SENSITIZINGThe sensitizing activity that will prepare participants for their involvement in the main activities, and engage them in their current values and experiences will be split into two parts. First, the participants will be instructed via email to select an educational reading that they have used in the past for their post-secondary education. I will ask them to photo-copy a chapter or section that they have read if it is from a physical book, or print a digital copy. They will be instructed to re-read the material and use pens, highlighters and/or post it notes to mark any specific parts of the reading that they think played a particularly important role in their experience with the text. They should notice any traits of the reading, positive or negative that have had an impact on their learning process. They will bring the copy of the reading with their notes they have made, to the co-creation session. There will be a group discussion to follow this. Participants will have two weeks to complete this activity. This activity will prime them for the next step of the path of expression: enacting memories. The second part of the sensitization is the Stream of Consciousness writing exercise that will be the first activity of the session. This will allow participants to let go of what is on their mind, and be engaged and in the moment.

PAST

FUTURE

NOW

Diagram of the Path of Expression

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ENACTING MEMORIESThis portion of the study will be the discussion of the Reading Analysis that the participants did at home. I will open the discussion to anyone who has anything they noticed, but if no one initiates the discussion I will offer suggestion topics such as the following.Think back to the first time you read the material, what was the experience like? Think through every step in your process. How long did the reading take you? How did you feel while reading the text? Did you read it all at once, or stop to take breaks? Did you need to stop to look something up? Or refer back to another text? Did the reading pro-vide any means to better remember the important parts of it? How did you study from the material?Hopefully they will verbally share their experiences. The video-camera will record each of their own verbal accounts of their experiences. I will ask them to read the readings at the session so that they can become part of the inspira-tion.

GENERATING IDEAS TO IMPROVE FUTURE EXPERIENCESThe main portion of the co-creative session will be dedicated to this activity. The participants will be making their own book spreads that showcase their values and desires for the final product. I will explain it verbally as follows.For this next activity, you will be using the 3 sheets provided to you. If you look at the diagram in your instructions booklet, they are Components A and B. Component A is the large page with some blocks of text. Component B is two sheets of paper with various content displayed. Please read the article on Component A. Then look over Com-ponent B and identify the elements that you think would help aid the article in order to improve the reader’s expe-rience. You can use as many or as few elements as you would like, but you only need to choose those that you think would be helpful to accompany the main article. Use the scissors and glue provided to you to attach the elements from Component B that you have chosen. Don’t worry about creating an aesthetically pleasing layout. You may use the highlighter and pens provided to make any notes about your choices as well.This activity allows the participants to show what they would like to see, and to offer their expertise as learners and readers about how the experience can be improved. I will encourage them to write down any information that they think is missing that they would like to see as well.

Table of Contents and Welcome Page of Instructions BookeltFront Cover of Instructions Booklet

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INSTRUCTION BOOKLETThe instructions booklet provides the participants with some simple instructions for the each part of the session. I will primarily be explaining the activities vocally, but if they forget, or want to refer back to an activity, the instruc-tions booklet can help. In the booklet, I used a vocabulary that is not specific to typography or publication design so that anyone could understand, not just designers. For example: instead of saying “spread” I said: representing two pages of an open book. There is a table of contents, a welcome page, and the end notes which thank them. I created some very simple diagrams and visuals which can help clarify which piece of the toolkit each activity requires.

TOOLKIT INGREDIENTSThe toolkit ingredients include Component A (the tabloid page with the main article), Component B (the two pages of possible additional content), a line piece of paper for sensitization, pens, scissors, a glue stick, and a highlighter. The choice of ingredients responds to the sub-questions in that the format of each activity is highly verbal, which is relevant to the area of research. The participants are given the opportunity to explain their experiences, desires and values through discussion, as well as written down. They can also show their ideas by cutting and pasting the addi-tional information. The leftover elements of Component B will show me what information is deemed unnecessary by participants.

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TOOLKIT ACTIVITIESThe toolkit activities offer participants different ways to express their values about their learning. The activities take the participants through the path of expression so that they can use their experienc-es to fuel their ideas for future improvements. The editing activity uses performance artist Marina Abramović’s work as the topic because it is some-thing that may be familiar to the participants, but it is not something that I would expect any of them to know inside and out.

TOOLKIT PRODUCTIONThere were many changes made during the pro-duction and development of the toolkit design. I started out wanting to use a card sorting activity that I created using abstract diagrams and icons with keywords describing potential desires for future solutions. The participants would choose three image cards and attach a word sticker to the card. On the back they would explain their reasoning for

SAY

DO

MAKE

Reading Analysis

Reading Analysis Discussion

Editing Activity

Questionnaire

Stream of Consciousness

Above: High Fidelity Prototype (filled out)

Above: Draft of low fidelity prototype, workbook

Left: Low fidelity prototype

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their choice. The instructions for this activity were far too com-plicated and the actual purpose and production of the cards did not have enough validation to be used. Also, the images were too abstract. The one reasons why I thought this activity would be a good addition to the toolkit, is because the combination of words and images creates a definition for their values. Another activity that I wanted to do was to email sensitizing questions that the participants would respond to. After receiving some feedback, it was determined that this was not necessary, and that there could be a better way to sensitize the participants while using actual educational readings that they use. In my low-fidelity prototype I included a camera, which I quickly decided was not necessary. The order of the activities changed almost daily as I was trying to plan the session, it was difficult to co-ordinate the order that made sense to me with the Path of Expression, but I ultimately found a solution. I found it difficult to meet the requirements of the project without having to use activities and toolkit ingredients that I knew would not be necessary or helpful in the project. I especially found it difficult to find a ‘make’ activity that would actually be beneficial for my research question. I feel that what I have produced would actually be useful, and has the possibility to be analyzed. I kept trying to figure out how a workbook would work with all of the activities, but found that really it was not necessary. Loose paper is alright for the work session.

PILOT TESTINGThe responses that I received from my pilot testing were all generally saying that what I had was too broad and abstract, and that the instructions were confusing. I found this very useful actually because it forced me to narrow in and be more specific with each activity. After the pilot testing I drafted different ways to word questions, and re-con-sidered how I would communicate instructions. I determined that instructions should be explained out loud as well as in the instruction booklet to be clear. It was pointed out that one of the questions on my questionnaire sound-ed biased, but with a closer look it was not, as both negative feedback and positive feedback were asked for. I did re-evalutate the question however, and ensured that once put into the online questionnaire, it did not come across as biased. The two pilot participants who engaged with the activities both did not do the card sorting activity as out-lined in the instructions. This was a huge sign that the activity and instructions manual were flawed. I also received feedback that my toolkit was very dull and could use some colour. Also, the stickers that were supposed to be a part of the card sorting activity were very messy as they were loose.

NEXT STEPSI think that it is difficult to evaluate the usefulness and effectiveness of the toolkit without actually carrying out the session. If I were to continue, I would start contacting potential participants and really conduct the generative re-search study that I have planned. Planning the co-creative session practically, as if it were to actually take place was very helpful for me in approaching the project realistically, and I think that the more accurate and close to reality the plan for research, the more prepared I am for future research projects.

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REFERENCESBrodaty, H., Gibson, L. R., Waine, M. L., Shell, A. M., Lilian, R., & Dimity, C. (2013). Research in general practice: a survey of incentives and disincentives for research participation. Mental Health In Family Medicine, 10(3), 163- 173.Grolnick, W. (2015). Mothers’ motivation for involvement in their children’s schooling: mechanisms and outcomes. Motivation & Emotion, 39(1), 63-73. doi:10.1007/s11031-014-9423-4Pashler, Harold, et al. “Learning Styles: Concepts And Evidence.” Psychological Science In The Public Interest 9.3 (2008): 105-119. Academic Search Complete. Web. 8 June 2016.Media Lab Amsterdam.Retrieved June 6 2016: http://medialabamsterdam.com/wp-content/uploads/2016/01/Re searchPoster_TheHive.pdfMattelmäki, T., & Battarbee, K. (2002, January). Empathy probes. In PDC (pp. 266-271).Valiant, L. G. (2005). Memorization and association on a realistic neural model. Neural computation, 17(3), 527-555.Convivial Toolbox. Sanders and Stappers. Chapter 6 Case Studies p.184-196, Analysis p.197-216, Chapter 7 Case Studies p.223-233