THE PROJECT:As part of the Strategic Information Design module at the University of Dundee, we were asked to redesign data or materials for our client's program, Starter 4 Six, which is an enterprise support project led by NESTA (National Endowment for Science Technology and the Arts) in Scotland, which is open to individuals and teams with an innovative business idea in science, technology and the creative industries.

THE FOCUSAfter a strategic review of the client's needs, toolkit, online presence and videos, as well as competitive partner sites, I chose to focus on two objectives.

For the online deliverable, I chose to address an internal audience: the sta� of NESTA and its workshop participants. I proposed a new framework for implementing their feedback model, using how they approach teaching creative entreprise to their audience, and building upon NESTA values and philosophy as taught in their workshop and toolkit.

For the “paper” deliverable, I chose to design to build conversation and buy-in between NESTA, potential strategic project partners they identi�ed in our brie�ng interview, and future clients. My background research into partner sites sought to identify various approaches to “building the creative economy” with an eye toward outreach to emerging creative entrepre-neurs. I was particularly struck by how di�cult it was to �nd immediate, actionable information on the partner sites.

In contrast, NESTA’s model exempli�ed their ethos of building the individual as well as their business. My deliverable contrasts these di�erent visions for how to build a creative ecomony, playing on the tension between the exclusive vernacular of big business (”It’s our business) to the personable, approachable framework of NESTA’s entreprenurial incubator (”It’s your busi-ness).

I punctuated this approach by slecting two key statistics underlying NESTA’s demographic: Not only does no similar program exist in Scotland for creative business support, Starter for Six is created to welcome those with no prior business experience.

DESIGN STRATEGYFor both deliverables, I chose to carry forward NESTA's existing simpli�ed style for this design, focusing on font, text, and color blocks and lines. In the paper deliverable, I also included the colored circles to gesture toward the feedback framework proposed in my online deluverable. I designed it to evoke the feeling of new creative entrepreneurs approaching building a business fo rthe �rst time: often the language and procedures can be overwhelming. In contrast, NESTA’s model, with its simple and colorful language and tools, creates breathing room and a chance to see eye to eye with these new entrepreneurs.

Thank you.

Han PhamUniversity of DundeeHan (at) designswinger (dot) com

A VISION FOR THE CREATIVE ECONOMY

NESTA: Making Innovation Flourish

it’s (y)our business

The Creative Economy Unit was established to develop a programme of work that would share the UK’s experience of developing the creative economy and the wider societal impact this can have. The Creative and Cultural Economy Programme works in the following �ve primary strands: 1. Policy and mapping. E�ective policy-making is essential for the development of a sustainable and competitive creative economy. The structure around which the creative economy develops is shaped by a series of government interventions, from IP regulations to tax regimes and education policies. This is also the framework in which cultural relations take place. 2. Skills and Infrastructure. Skills and infrastructure are essential to nurture the creative economy’s growth and sustainability. The programme of activities includes: Media training, Infrastructure, Business Skills: delivery of training programmes for young creative business owners that seek to develop their business and sector-speci�c skills. 3. Creative entrepreneurship and net-worksCreative entrepreneurs are pivotal �gures for the creative economy: by bridging the gap between artists and consumers, they drive forward the economic and cultural development of societies. 4. Leadership and Cultural Relations As a cultural relations agency, the British Council seeks to engage the new generation of cultural leaders with key stakeholders around the world in the discus-sion and development of common strategies to tackle global cultural issues. The programme will also integrate practitioners from a wide spectrum of sectors outside the arts (science, education, sports, etc.) in order to create cross-sectoral collaborations. 5. Insight and Intelli-gence Development of a platform for the collection and discussion of issues around the creative economy, stimulated by the information and interaction generated by the British Councilʼs creative economy activities and networks.

An overview of the creative industries sectorExport regulations in the creative industries sector

Speci�c regulations for the export of creative industries goodsResearching your export destination in the creative and media sector

Tari�s and duties in the creative and media sector

Import regulations in the creative industries sector

Protecting the intellectual property inherent in your design and creative output

Sources of help and support in the creative industries sector

BRITISH COUNCIL

BUSINESS GATEWAY

A VISION FOR THE CREATIVE ECONOMY

1. Arrivals and destinations Launching you own successful creative business

2. Getting it o� the ground How to go about setting up a creative business

3. Choosing your own path What you need to make your business work

4. In it for the long hail Speaking to customers and staying in business

NESTA

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79% never atte

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Starter f

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43% had no business experience

it’s (y)our business