Major Project 1 - Task 2 : Design Proposition

17/02/2025 - 03/03/2025 ( Week 3 - Week 5 )

Ho Winnie / 0364866 

Major Project 1  / Bachelor's of Design Honors In Creative Media 

Task 2 : Design Proposition

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1. Task 2 : Design Proposition

2. Feedback 

3. Reflection

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Task 2 : Design Proposition

Instructions : 

Fig 1.1 Expected Deliverables For Task 2

Progress : 

A. Splitting Of Tasks 

For this group project submission, unlike Task 1, we focused on consolidating insights from our user interviews to conduct a combined analysis and develop a user journey map and user persona. Previously, we interviewed two main groups: traditional crafters and the general audience.

After consulting with Dr. Wong, we decided to structure our analysis as follows:

• Traditional Crafters: We grouped all six interviewees (from Wayang Kulit and Baba Nyonya) into a single combined user interview analysis.
• General Audience: We grouped all six general audience interviewees separately for analysis.

User Personas & User Journey Map

• Traditional Crafters: We will create five user personas—four for Baba Nyonya crafters and one for Wayang Kulit crafters (combining the two Wayang Kulit interviewees into a single persona).
• General Audience: We categorized them into cultural enthusiasts and the general crowd. This results in three user personas:
  • Two cultural enthusiasts (one above 35 years old and one below 35 years old).
  • One general audience member.

My Contribution 

For my part, I will :

1. Conduct the combined analysis for traditional crafters.
2. Develop the user personas and user journey maps for three Baba Nyonya crafters:
   • Two from Kasut Manik (beaded shoes).
   • One from Lantern crafting.

B. Individual Contribution - Combined Analysis Of Traditional Crafters 

To begin, I asked my team members, Guo Ying and Melvin, who conducted individual analyses of the crafters they interviewed, to share their affinity diagrams with me. By consolidating their findings with my own, I will conduct a general analysis using affinity diagrams as well on why traditional crafts are fading, based on insights from the crafters themselves.

Fig 1.2 Traditional Crafters Interviewed 

After studying the insights from all our interviews, I came to a conclusion that there are 4 main points why traditional crafts are fading. 

1. Lack of Knowledge Transfer & Apprenticeship Issues

Many traditional crafters struggle to pass down their skills to younger generations. This is due to:

• A lack of structured apprenticeship programs.
• The time-consuming nature of learning these crafts, which discourages young people from pursuing them.
• The absence of financial incentives for artisans to take on apprentices, making mentorship unsustainable.
• The aging population of current craftsmen, leading to an increasing knowledge gap.

2. Modernization & Changing Lifestyles

As societies modernize, cultural traditions and practices are often deprioritized. Key challenges include:

• Younger generations preferring modern, mass-produced alternatives over handcrafted traditional items.
• Urbanization reducing exposure to these crafts, as many artisans are based in rural areas.
• Changing fashion and home décor trends, making traditional crafts less relevant in contemporary lifestyles.
• The perception that traditional crafts are outdated or not aligned with modern aesthetics.

3. Declining Demand & Economic Viability

Sustaining a career in traditional craftsmanship is becoming increasingly difficult due to:

• The high cost of materials, making handmade products more expensive compared to factory-made alternatives.
• Limited market reach, as traditional crafts are often not effectively marketed beyond niche audiences.
• A shrinking customer base, with interest in traditional items declining over time.
• Competition from imported goods that replicate traditional designs at a lower price.

4. Lack of Digital & Public Engagement

In today’s digital age, many artisans struggle to market their crafts effectively. Issues include:

• Limited knowledge of social media and e-commerce platforms to reach a broader audience.
• The lack of online presence, making it difficult for potential customers to discover and purchase traditional crafts.
• Insufficient government and community support to promote these crafts through digital initiatives.
• The absence of digital storytelling and content creation that could highlight the cultural significance of these crafts.

Conclusion

The decline of traditional crafts is a multifaceted issue that stems from generational gaps, economic struggles, and a lack of adaptation to modern trends. Addressing these challenges requires a combined effort from artisans, communities, and policymakers to implement initiatives such as digital transformation, targeted marketing, and sustainable apprenticeship programs.

Fig 1.3 Fig Jam Board Process

In addition, I also did a combined analysis on ways to safeguard the traditional crafts and there are 4 main ways to do it. 

1. Formal Apprenticeship & Training Programs

One of the most effective ways to preserve traditional crafts is through structured learning programs. This includes:

• Establishing official apprenticeship programs where young artisans can learn directly from experienced craftsmen.
• Government and institutional support in funding craft schools or vocational training programs.
• Incorporating traditional crafts into academic curriculums, allowing students to explore them as viable career paths.
• Encouraging intergenerational mentorship programs to ensure knowledge transfer before it is lost.

2. Modernization & Design Innovation

To make traditional crafts more appealing to modern consumers, innovation is key. Strategies include:

• Adapting traditional craftsmanship to contemporary fashion, home decor, and accessories.
• Using sustainable materials and eco-friendly production methods to align with modern consumer values.
• Collaborating with designers, artists, and tech innovators to fuse tradition with modern aesthetics.
• Allowing customization or personalization of craft products to cater to diverse preferences.

3. Economic & Business Model Sustainability

To sustain traditional crafts as a livelihood, business strategies must evolve. Possible solutions include:

• Introducing pricing models that balance affordability with fair artisan wages.
• Developing co-operatives or collectives that help artisans share resources, knowledge, and marketing efforts.
• Encouraging partnerships with luxury brands, boutiques, and tourism industries to expand market reach.
• Seeking grants, sponsorships, and financial aid for artisans struggling to sustain their businesses.

4. Digital Engagement & Public Awareness

A strong digital presence can help preserve and promote traditional crafts by:

• Leveraging social media platforms to showcase crafting processes and stories.
• Creating immersive platforms to showcase the crafts
• Organizing virtual workshops and online exhibitions to educate a global audience.
• Partnering with influencers, cultural institutions, and heritage organizations to raise awareness.

Conclusion

The survival of traditional crafts depends on strategic adaptation and community-driven efforts. By modernizing designs, establishing structured learning opportunities, improving economic sustainability, and embracing digital engagement, we can ensure these crafts remain relevant and appreciated for generations to come.

Combined Traditional Crafters User Interview Analysis Insights : 

C. Individual Contribution - User Journey Maps & Personas Of 3 Traditional Crafters

For this section, I am responsible for developing the user personas and journey maps for three Baba Nyonya crafters:

• Two specializing in Kasut Manik (beaded shoes)
• One specializing in traditional lantern-making

I created these personas based on insights from the three crafters I interviewed, ensuring that their experiences, challenges, and motivations were accurately represented. While the personas reflect real interview data, I have changed their names and identities to fit the user persona. 

The three personas and journey I did are as follow below  : 

• Vivian Low , Age 27 , Baba Nyonya , Kasut Manik Crafter 
• Tan Kim Hock , Age 65 , Baba Nyonya , Kasut Manik Crafter 
• Jing Shen Xiang , Age 55 , Chinese , Lantern Crafter 

Combined User Personas & User Journey Maps 

D. Submission Of Task 2 

After all my group members are finished with their respective parts, I did a final refinement on the slides and submitted it to our supervisor , Dr Wong. 

Fig 1.4 Our Fig Jam Board For Task 2

Final Slides By My Group 

Major Project 1 - Task 2 by Winnie Ho

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2. Feedback

Week 4 : 

In Week 4, Dr. Wong advised us to change the names of the traditional crafters in our user personas to ensure consistency with the other personas. She also commended the quality of our analysis and provided guidance on refining the user journey map. Specifically, she suggested structuring it around key scenarios that crafters commonly encounter, such as "When Receiving an Order for Kasut Manik."

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3. Reflection 

Experience : 

Working on the user personas and journey maps for Baba Nyonya crafters was an insightful and engaging process. By consolidating interview data from three traditional artisans—two specializing in Kasut Manik (beaded shoes) and one in lantern-making—I was able to craft detailed representations of their experiences. Creating these personas required careful consideration of their motivations, challenges, and work processes while ensuring anonymity by changing their names and identities. Additionally, structuring the user journey map based on real-life scenarios, such as "When Receiving an Order for Kasut Manik," helped ground the analysis in practical, relatable experiences.

Observation : 

Throughout this process, I observed that traditional crafters often face similar struggles, particularly in knowledge transfer, market sustainability, and adapting to modern consumer demands. Despite their dedication and craftsmanship, many artisans struggle with securing apprentices, pricing their products competitively, and gaining visibility in a digital-driven market. Additionally, the way each crafter approaches their craft varies significantly—some rely on custom commissions, while others depend on walk-in customers or local heritage events. This made it evident that their user journey is not a single, linear process but rather a dynamic experience shaped by customer interactions and external influences.

Findings : 

From the analysis, I found that mapping out the user journey helps uncover critical pain points that may not be immediately obvious from direct interviews alone. For example, the challenge of managing customer expectations and balancing quality with production time became more apparent when detailing the steps of an order fulfillment process. Additionally, Dr. Wong’s suggestion to align the personas with a structured naming approach and base journey maps on real scenarios provided clarity and consistency. This task reinforced the importance of a user-centered approach in research and how refining personas and journey maps can lead to more effective problem-solving strategies for preserving traditional crafts.