GDE730 W9 | Workshop Challenge

DESIGN ENTREPRENEUR

Being an entrepreneur today.

Create an information graphic, or diagram, or animation that, for you, highlights the effective definition and process of a being a design entrepreneur today.

• Upload your diagram to the Ideas Wall and discuss the pros and cons of how risk, failure and innovation is built into a model for business success;

• What is the impact of different cultural insights with regard to opportunity and potential?

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BEGIN WITH A GODDESS

Durga, the Hindu goddess of war, the warrior form of Parvati, whose mythology centers around combating evils and demonic forces that threaten peace, prosperity, and Dharma the power of good over evil. Her nine blessings of prosperity, happiness, wealth and good fortune served as my inspiration for my design entrepreneur infographic.

The design entrepreneur must be able to wear many hats, or in the case of the Durga, have many arms in order to take into consideration and act on their own behalf to bring their ideas to life. Using Durga to serve as the foundation of my infographic, I considered the following:

Risk and Reward

Success and Failure

Innovation and Awareness

Further, each design entrepreneur must assume the many roles that include:

• Dreamer

• Explorer

• Marketer

• Protector

• Juggler

• Manager

• Promoter

• Accountant

• Forecaster

• Analyst

INSPIRATION

I wanted to use myself as my Durga to feel most empowered by this exercise and to be most inspired when considering the life of a design entrepreneur. That said, I came to this exercise inspired by many design entrepreneurs. Below is a small gallery of my all-time favorites:

Top to bottom, left to right:

Anna and Nathan Bond of Rifle Paper Co. was founded in 2009 by husband-wife team Nathan and Anna Bond. Over the last 10 years, we have grown our company from two people to over 150. Our world is full of bold colors, hand-painted florals, and whimsical characters—and our goal is to create quality products that bring beauty to the everyday. Their current collaborations include globally recognized brand, KEDs and a new rug line for their home decor channel.

Aaron Draplin of Draplin Co. and Field Notes The Draplin Design Co. finally stepped out on its own four hairy feet in the fall of 2004. Collaborating with the likes of Bernie Sanders, Patagonia, Target, Chris Stapleton, NASA/JPL, John Hodgman, Ford Motor Company, Woolrich and even the Obama Administration, if you can believe that. He is also the founder of the universally handy and well-know Field Notes brand.

Christine Schmidt of Yellowtail Workshop Fueled by too much black tea and public radio shows, Schimidt spent nights creating hand-printed cards and gifts. Seeking out local suppliers and working with fine, momma-earth loving materials, she began honing her line of wares. In 2007, after steeling her nerves, Christine took a box of her goods to some local stores, they placed orders and Yellow Owl Workshop was born. Yellow Owl Workshop now bustles with a team of hard-working humans in a sunny Mission district studio. Though Yellow Owl Workshop has grown and can be found in stores worldwide, the original values of expert attention to detail, ecological awareness and premium U.S. made materials are evident in every product. Legend says if you hold a stamp set really closely you can probably still smell the Earl Gray and hear a "Radio Lab" episode.

Tina Roth Eisenberg (aka Swiss Miss) and Tattly Co. Tired of putting poorly designed temporary tattoos on her daughter’s arm, Tina Roth Eisenberg took matters into her own hands. After soliciting a dozen renowned artists and designers, hiring the first two team members, and learning what a temporary tattoo was actually made of, Tattly was born. Eisenberg is founded and runs Tattly, CreativeMornings , TeuxDeux and her Brooklyn based co-working space Friends.

Adam J. Kurtz (aka @adamjk) is an artist and author whose illustrative work is rooted in honesty, humor and a little darkness. His books have been translated into over a dozen languages and his work has been featured in the New Yorker, VICE, Adweek and more.Kurtz speaks frankly about channeling human emotion into our work, and generally just trying to be more okay with whatever we've got. His latest book, Things Are What You Make of Them, is a handwritten essay collection that digs into the emotional realities of creative entrepreneurship. ADAMJK® is an art and stationery brand focused on gifts that are fun, weird, sentimental, and often literal. 

Timothy Goodman is a designer, illustrator, muralist and author. Timothy Goodman's art and words have populated walls, buildings, packaging, cars, people, shoes, clothing, book jackets, magazine covers and galleries all over the world. He has collaborated with peer creatives such as Jessica Walsh and globally recognized brands such as Tiffany & Co., GUESS, and Uniqlo.

IN PROCESS

I set out to create my infographic beginning in Procreate as a sketch of my version of Durga in my likeness. Once the illustration was complete, I moved into InDesign for the final layout. Elements of the design worth noting is the components of risk and reward — divided by a chasm called “failure” — and bridged by a narrow line that symbolizes opportunity. My design entrepreneur Durga rides a unicycle to nod at innovation over the tiger that the Hindu goddess herself rides. The chasm does not fall too deeply below the opportunity line noting that failure is not only far out of sight, but that it can also be overcome. The thin line of opportunity also points to fleeting moments that risk must push the entrepreneur forward as well as serve as a delicate balance between and the ongoing dipping in and out of both success and failure.

FINAL PIECE

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You can download a high resolution PDF of this layout HERE.

REFERENCE

Falmouth University (2019). Core Characteristics, Ethics and Theory | Lecture. Studio and Entrepreneurship GDE730 19/20 Part-Time Study Block S2 (Falmouth, UK: Falmouth University)

Entrepreneur Europe [online] https://www.entrepreneur.com/ 

Lecture in Progress  https://lectureinprogress.com/ 

Courier [online]  https://couriermedia.co/ 

Offscreen[online] https://www.offscreenmag.com/ 

Intern [online] https://intern-mag.com/ 

Backstage Talks [online] https://backstagetalks.com/ 

Artsy Magazine [online] https://www.artsymagazine.com/ 

Ethos [online] https://ethos-magazine.com/ 

Wired, Jessica Alter,(2013) Designers make great entrepreneurs, they just don’t know it yet 

Frederick Harry Pitts https://www.frederickharrypitts.com/ 

Futures of Work https://futuresofwork.co.uk/

GDE730 W9 | Lecture Review

Core Characteristics, Ethics and Theory

This week’s lecture included a conversation with Robin Howie who is the founder and creative director of Fieldwork Facility, Sinx, or John Sinclair, who is one of the founders of ustwo, as well as Sophie Hawkins who is the founder of S. Hawkins Co. fashion design. 

ROBBIE HOWIE | FIELDWORK FACILITY

Hefin Jones began his service design career in university. He enjoyed the collaborative nature and immersion possibilities when working with people in their communities. He used his project Cosmic Colliery to engage a community in Wales around the fictional notion of reimagining a closed-down coal mine into an astronaut training facility. His work immersed him into this community, spending long periods of time in conversations with young people, former coal miners, families, youth center directors and operators, local governments.

JOHN SINCLAIR | USTWO

By using fiction, Jones hope was to allow for deeper, more meaningful conversations around how the community could think differently about its culture, history, networks, relationships, and practices. What made this project most successful was Jones’ willingness to allow for space for long and meandering conversations to take place. To provide room for people to imagine and engage in dialogue. He expressed the necessity to listen, and not bring your own biases about the project into the foreground.

SOPHIE HAWKINS | S. HAWKINS CO. & 108 BOILERSUITS

A take away for Jones was the projects opportunity to engage the marginal voices, in this case, the youth of the community — unable to vote — and finding ways to create agency and advocacy on their behalf.

His advice for service designers starting out is to prioritize listening, leaving bias out as much as possible, having a responsibility to the subjects and subject community and to be willing to allow for variances and evolution to take place within and beyond the project.

REFERENCE:

Falmouth University (2019). Core Characteristics, Ethics and Theory | Lecture. Studio and Entrepreneurship GDE730 19/20 Part-Time Study Block S2 (Falmouth, UK: Falmouth University)

Entrepreneur Europe [online] https://www.entrepreneur.com/ 

Lecture in Progress  https://lectureinprogress.com/ 

Courier [online]  https://couriermedia.co/ 

Offscreen[online] https://www.offscreenmag.com/ 

Intern [online] https://intern-mag.com/ 

Backstage Talks [online] https://backstagetalks.com/ 

Artsy Magazine [online] https://www.artsymagazine.com/ 

Ethos [online] https://ethos-magazine.com/ 

Wired, Jessica Alter,(2013) Designers make great entrepreneurs, they just don’t know it yet 

Frederick Harry Pitts https://www.frederickharrypitts.com/ 

Futures of Work https://futuresofwork.co.uk/

Congdon, L., Ilasco, M. M., & Fields, J. (2014). Art, Inc.: The essential guide for building your career as an artist. San Francisco: Chronicle Books.

Congdon, L. (2019). Find your artistic voice: The essential guide to working your creative magic. San Francisco, CA: Chronicle Books.

ATAVAR, M. (2019). BEING CREATIVE: Be inspired. unlock your originality. Place of publication not identified: AURUM Press.

GDE720 W9 | Workshop Challenge

Society & Purpose

This week’s challenge was split into two tasks:

1. Task 1: Research User-Centred Design Processes or Tools

   • Research three user-centred design processes or tools that can be used to discover a core need or problem e.g. customer journey maps, service safaris, a day in the life, cultural probe, double diamond.

   • Select one process and write a short 100-word description to illustrate how it can be used to discover an insight or challenge.

2. Task 2: Research Existing Campaign or Service Design Project

   • Research and select one existing campaign or service design project that tackles a social problem and analyse its effectiveness. Please remember to include information about any user-centred design processes that may have been used and the impact it brought about.

   • Write a 300 – 400 word description with screen grabs to illustrate your research findings.

EMPATHY MAPS

Empathy is critical to any design solution. How can a designer truly know how to solve a problem if they are unable to know the impact of the problem for the audience in the first place? The use of the empathy map and empathy experience overall provides the designer with direct input by placing themselves in the shoes of the customer (end user, audience, or subject). The empathy map can be useful to synthesize the data collected in the field. The tool creates a segmentation of actions: say, do, think, and feel into quadrants for evaluation and assignment. Each data point collected gets assigned a place on the map based on the appropriate, relevant action: think/feel, hear, see, say and do. Insights can then be gleaned from the patterns that may appear, contradictions or disconnects, or surprising revelations once the exercise has been completed.

TURNING BOOKS ON THEIR HEADS: INSTA NOVELS

In 2018, The New York Public Library partnered with the independent advertising and creative agency, Mother New York, to reimagine four literary classics intended to meet their younger audiences where they are: Instagram.

The problem presented by NYPL was to engage their younger audiences in a way that they’ve never had before and to break down the idea that the library is a dusty old place filled with dusty old books. Their partnership with Mother New York lead them down a path of discovery and finding new ways to reach their audience. Mother New York’s team looked at how best to tell a story in Instagram stories. They looked at typography, both size, color, and hierarchy to create the best possible reading experience. They leveraged Instagram’s native user experience of tapping within stories to move pages forward and back. And set off chapters with clever animations to keep the reader engaged and delighted.

The design research on this project must have been intense, but the efforts clearly have paid off. The library’s audience grew by over 75% during the initial launch of the Insta Novels and readership in the 300,000s. I would imagine that numerous design thinking tools were employed to realize this project. Having the known insight that their audience in the younger demographics had an unfavorable point of view of the library, using a tool such as “How Might We” to brainstorm new ways to engage this cohort would prove useful. The use of empathy maps after any journey maps or shadowing experiences could yield data that point the agency towards insights given how this audience thinks, feels, acts, says, and does with books as well as social media. Issue cards could be utilized to garner in-depth input from test subjects about how they prioritize reading, reading platforms, and their preference for learning new ideas or storytelling more specifically. Finally, the use of some circular design thinking could be employed to find out a more sustainable method to creating readership with a younger, more technically savvy audience. The researchers could literally dismantle (gasp) a classic novel and dissect its manufacture from paper source, production, distribution, and environmental impact all of which might have lead them to the idea that Insta Novels provide more circular economy for the New York Public Library and have a much smaller impact on Mother Earth.

We’ve been around a long time, and we have a reputation, so when we sort of subvert expectations, I think it really delights people.
— Richert Schnorr, director of digital media for the New York Public Library

REFERENCE:

Card Sort. (n.d.). Retrieved from https://www.designkit.org/methods/24

Card Sort. (n.d.). Retrieved from https://www.designkit.org/stories/50

Dam, R. F., & Teo, Y. S. (n.d.). Define and Frame Your Design Challenge by Creating Your Point Of View and Ask "How Might We". Retrieved from https://www.interaction-design.org/literature/article/define-and-frame-your-design-challenge-by-creating-your-point-of-view-and-ask-how-might-we

Hypothesis Generation. (n.d.). Retrieved from https://servicedesigntools.org/tools/hypothesis-generation

Issue Cards. (n.d.). Retrieved from https://servicedesigntools.org/tools/issue-cards

Falmouth University (2018). Society & Purpose | Lecture. History and Futures GDE720 19/20 Part-Time Study Block S2 (Falmouth, UK: Falmouth University)

Manzini, E., (2015) Part 1: Social Innovation and Design, in Design, When Everybody Designs: An Introduction to Design for Social Innovation [ebook], Cambridge, Mass: MIT Press. Available from: https://ebookcentral.proquest.com/lib/falmouth-ebooks/detail.action?docID=3339947.  pp. 7–74

Romanoff, M. (2017, February 9). "How Might We" Questions. Retrieved from https://dschool.stanford.edu/resources/how-might-we-questions

Stickdorn, M., Schneider, J., Andrews, K. and Lawrence, A., (2011) This is Service Design Thinking: Basics, Tools, Cases [ebook], Hoboken, NJ: Wiley. Available from: https://www.dawsonera.com/abstract/9789063693169 ., pp. 68–79, 88–93, 108–115, 124–135.

TEDx, Carol A. Wells, (2015) Can Art Stop a War and Save the Planet? https://www.youtube.com/watch?v=bQKNkmuZ7V8

Service Design Tools: Communicating Methods Supporting Design Processes (2009), . Available from: http://www.servicedesigntools.org/repository

GDE720 W9 | Lecture Review

Society & Purpose

This week’s lecture involves a review of the field of service design.

WHAT IS SERVICE DESIGN?

Service design is a field that aims to solve problems that are:

1. User centered: approached through the eyes of the customer (end user, audience, or subject)

2. Co-creative: all stakeholders and end users are considered and uses a variety of expertise to approach the problem

3. Sequenced: utilizing a series of interrelated actions

4. Evidenced: making note and acting on the key moments in the customer’s journey

5. Holistic: the entire environment is considered

The core component to service design is people: for people and with people. Designers can play an important role in services design as they are seen as natural problem solvers, are honest, willing to collaborate, experiment, and be transparent with regard to a focus on the benefit of any given solution for the intended audience.

There are many tools that can be employed within the field of services design. Below are a list of four that I chose to explore for this week’s Workshop Challenge:

1. Empathy Map and the Empathy Experience

2. Card Sort / Issue Cards

3. Hypothesis Generation

4. Insides Out

Empathy is critical to any design solution. How can a designer truly know how to solve a problem if they are unable to know the impact of the problem for the audience in the first place? The use of the empathy map and empathy experience overall provides the designer with direct input by placing themselves in the shoes of the customer (end user, audience, or subject). The empathy map can be useful to synthesize the data collected in the field. The tool creates a segmentation of actions: say, do, think, and feel into quadrants for evaluation and assignment. Each data point collected gets assigned a place on the map based on the appropriate, relevant action. Insights can then be gleaned from the patterns that may appear, contradictions or disconnects, or surprising revelations once the exercise has been completed. An example of the Empathy Experience referenced from Matt Cooper-Wright in the Medium Design Research Methods involves a case study in search of insights for a particular cancer drug. The research team wanted to gain insights to the experience of the patients taking the drug. What they found was that each patient interviewed had a different response or unpredictable experience for each interaction with the pill. To empathize with the subjects, the researchers were given pill packs filled with different flavored jelly beans with extreme differences in flavor. This provided the team to have a greater understanding for the patient experience and therefore help to create better solutions. “Designing from a position of deep empathy is both inspiring and humbling.”

The Card Sort or Issue Cards is a technique used to engage in a deeper conversation between researcher and subject. In addition to a regular of a set of interview questions, the cards can be used to inspire input from the subject in a more self-directed way. This provides the opportunity for greater empathy and more nuanced responses as the subject may (or may not) interact with the cards in a way that provides additional insights or details on a more personal level. It can also be useful in mitigating out any subjectivity on the part of the researcher as the cards are placed in the hands of the subject to evaluate and respond.

Hypothesis Generation (or How Might We questions) involves using insights that are already know and turning the perspectives into actionable provocations. The “how might we” questions used in this exercise help the researcher to extend point of view to frame and open up the design challenge.

• "How" suggests that we do not yet have the answer. “How” helps us set aside prescriptive briefs. “How” helps us explore a variety of endeavors instead of merely executing on what we “think” the solution should be.

• "Might" emphasizes that our responses may only be possible solutions, not the only solution. “Might” also allows for exploration of multiple possible solutions, not settling for the first that comes to mind.

• "We" immediately brings in the element of a collaborative effort. “We” suggests that the idea for the solution lies in our collective teamwork.

Insides Out is an approach to circular design thinking that involves taking a part an everyday product to “build empathy and understanding around the implications of disassembly and recover of materials and parts.” IDEO has created a Circular Design Guide to help people evolve to a new, innovative, and critical way of solving problems, ones that address the issue of today and focus on creating the solutions for tomorrow. Insides Out is one of many tools in this new way of design thinking that creates a pathway to identifying new ways to solve problems, create solutions, and help the global community. The dismantling of an everyday item provides an opportunity to ask critical questions such as:

• Which materials and components could be recovered from this device and reused?

• Does the manufacturer produce individual parts if you needed to replace only a battery, for example?

• Is it economically viable to disassemble them in the way you have done?

• If not, what needs to change to make it so? You might like to consider a range of interventions such as product design, business models, reverse cycle or policy enablers.

Ultimately, the goal is to identify ways to create a more circular solution that mitigates the need to simply throwing it away, keeping a focus on our needs for sustainability and thinking differently about the products we create.

REFERENCE:

Card Sort. (n.d.). Retrieved from https://www.designkit.org/methods/24

Card Sort. (n.d.). Retrieved from https://www.designkit.org/stories/50

Dam, R. F., & Teo, Y. S. (n.d.). Define and Frame Your Design Challenge by Creating Your Point Of View and Ask "How Might We". Retrieved from https://www.interaction-design.org/literature/article/define-and-frame-your-design-challenge-by-creating-your-point-of-view-and-ask-how-might-we

Hypothesis Generation. (n.d.). Retrieved from https://servicedesigntools.org/tools/hypothesis-generation

Issue Cards. (n.d.). Retrieved from https://servicedesigntools.org/tools/issue-cards

Falmouth University (2018). Society & Purpose | Lecture. History and Futures GDE720 19/20 Part-Time Study Block S2 (Falmouth, UK: Falmouth University)

Manzini, E., (2015) Part 1: Social Innovation and Design, in Design, When Everybody Designs: An Introduction to Design for Social Innovation [ebook], Cambridge, Mass: MIT Press. Available from: https://ebookcentral.proquest.com/lib/falmouth-ebooks/detail.action?docID=3339947.  pp. 7–74

Romanoff, M. (2017, February 9). "How Might We" Questions. Retrieved from https://dschool.stanford.edu/resources/how-might-we-questions

Stickdorn, M., Schneider, J., Andrews, K. and Lawrence, A., (2011) This is Service Design Thinking: Basics, Tools, Cases [ebook], Hoboken, NJ: Wiley. Available from: https://www.dawsonera.com/abstract/9789063693169 ., pp. 68–79, 88–93, 108–115, 124–135.

TEDx, Carol A. Wells, (2015) Can Art Stop a War and Save the Planet? https://www.youtube.com/watch?v=bQKNkmuZ7V8

Service Design Tools: Communicating Methods Supporting Design Processes (2009), . Available from: http://www.servicedesigntools.org/repository

GDE740 W9 | Workshop Challenge

THE CHALLENGE

• Select one of your design concepts, which you think will successfully answer your chosen project brief.

• Research innovative design thinking, format, media and production methods to gain a fresh insight into your project direction.

  • In what areas can I improve my concept? How can I develop an innovative, experimental and brave approach to elevate my selected concept?

CONCEPT DEVELOPMENT

As mentioned in Week 8, I’ve decided to focus my project on a web-based app versus a native app. Further, I am aiming to use a survey approach to help the audience explore and ultimately self-identify with one of the five personas of imposter syndrome.

I’ve found two web-based apps that do this well: http://mycreativetype.com/ and https://www.16personalities.com.

MY CREATIVE TYPE

The landing page for mycreativetype.com is inviting and welcoming. The motion-based typography creates a unique dynamism and interest.

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Mycreativetype.com uses a either/or approach to it’s survey questions. There is one question per page and nine pages with an unique, interactive interstitial page for each of the nine questions. This approach lends itself to continued interest for the survey taker as it maintains visual interest, while keeping the questions simple and straightforward.

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The results of the survey assign the taker a persona. My survey revealed that I am “The Adventurer.” Each persona has detailed attributes and comes with a unique character. Further, you can download a kit that provides a detailed PDF of your persona along with social media assets for you to engage in a conversation with other “creative types.”

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You can also learn about the seven other personas. As you can see each character is unique and dynamic.

The mobile experience is exactly as the desktop experience except that it functions perfectly within the confines of the smaller screen space. The design is very responsive. The only downside on mobile is that the interstitials take up only a section of the screen leaving them a bit too diminutive for my taste. I imagine this was a design decision on the side of best UX.

What makes mycreativetype.com effective is its clean, friendly appearance, and easily navigated application. It encourages sharing and conversation.

16 PERSONALITIES

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16Personalities.com as a great bit more information on their site. The test is as easy to approach, but has more questions and is designed on a scale vs. either/or.

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The interface is clean and easy to follow. It uses symbology and shape to show the levels between “strongly agree” and “strongly disagree.” 16personalities.com has six questions per page across nine pages yielding 48 questions in total. Given that there are 16 personalities, it makes sense that there would be more questions. The depth of answers (to what degree you agree or disagree) plays into the results.

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There are four main categories and four unique personalities within each main category. The main categories have unique broad traits shared across the personalities. The depth of those traits give way to the unique personality. This test is built upon research and uses the well-known acronyms from the Myers-Briggs Type Indicator® (MBTI®). 16personalities.com has evolved the MBTI further to achieve high test accuracy while also retaining the ability to define and describe distinct personality types.

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The sight has a robust offering of resources and ways to engage and learn more about your personality type as well as the type of others. This can lead to open discussions in the workplace, at the dining table, and in the classroom about the importance of inclusivity and diversity. The site design has a whimsical flair and a sense of humor backed up by research and science.

The mobile experience for 16personalities.com, like mycreativetype.com, is one that is responsive, dynamic, and easy-to-navigate.

A HYBRID APPROACH

I’ve decided to pull aspects from each of these sites that would work best for my project. These are the attributes I aim to explore:

• A welcoming/app start page landing experience

• Using either/or survey question to keep the audience engaged and not overwhelmed

• Four questions per persona for a total of 20 questions.

• I like the idea of interesting motion-based interstitials, but believe that 19 may be too many and become fatiguing.

• Creating characters for each persona that emulate aspects of the persona characteristic, but in a way that is friendly and relatable.

• Creating a bio for each persona with more detailed information, ways to engage in a conversation, share their results and link to additional resources or support.

ROUGH WIREFRAME

Below is an initial wireframe sketch showing the inventory of pages. The next steps will be to create a formal site hierarchy and begin to flesh out with content, character development, and then final design.

REFERENCE:

Calaby, L. (2018, August 14). The five different types of imposter syndrome. Retrieved from https://humanresults.co.uk/the-five-different-types-of-imposter-syndrome/.

Francis, T., & Hoefel, F. (2018, November). 'True Gen': Generation Z and its implications for companies. Retrieved from https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies.

Gen Z: A look inside its mobile-first mindset -- Think With Google. (n.d.). Retrieved from https://www.thinkwithgoogle.com/interactive-report/gen-z-a-look-inside-its-mobile-first-mindset/.

Ilyin, M. (2019, August 23). M-commerce vs e-commerce. Retrieved from https://wiredelta.com/m-commerce-vs-e-commerce/.

Lebowitz, S. (2016, January 12). Men are suffering from a psychological phenomenon that can undermine their success, but they're too ashamed to talk about it. Retrieved from https://www.businessinsider.com/men-suffer-from-impostor-syndrome-2016-1?r=US&IR=T.

Mindtools Content Team. (n.d.). Impostor Syndrome: Facing Fears of Inadequacy and Self-Doubt. Retrieved from https://www.mindtools.com/pages/article/overcoming-impostor-syndrome.htm.

Scacca, S. (2019, March 29). Rundown Of Gen Z: What Does This Mean For Mobile Designers? Retrieved from https://www.smashingmagazine.com/2019/03/mobile-designers-generation-gen-z/.

Young, V., & Young, V. (2019, September 26). The 5 Types of Impostors: Retrieved from https://impostorsyndrome.com/5-types-of-impostors/.