Todd Hinkle Final Project Process Book

TUNE IN.
Criteria for effective live stream advertising.
Prepared by Todd Hinkle
Figure 1. TV icon. Authors image.

1
The Researcher
Todd Hinkle
M.A. Design Management Candidate
SCAD 2015
Design Management Definition

Design Management is the mastery of the process that leads to
progress regarding challenging problems within businesses and
communities. It is the process by which design thinking is utilized
within collaborative groups to develop human-centered solutions
to complex and wicked problems. In Design Management design
and business are merged in order to allow for the emergence of
new and innovative methods of thinking and problem solving. Due
to the nature of human-centered design, the solutions often lead
to innovations that are unique and increasingly more accurate
than previous design and analytical methods.
Final Project submitted to the faculty of the Design Management
Program at the Savannah College of Art and Design on November
19, 2015, in partial fulfillment of the requirements for the degree of
Master of Arts in Design Management.
INTRODUCTION
Figure 2. Observation collage photo. Authors image.

Figure 3. Introduction icon. Authors image.
3
Abstract
Tune In was a study of live streaming media offerings for eSports
and how users interacted with those offerings in order to develop
criteria for the facilitated development of innovative advertising
systems within the industry. The researcher focused his efforts
through design thinking and various methods used within the field
of Design Management to create a thorough and empathetic
understanding of the current users and advertising systems
within live streaming media for eSports.
After months of research that included a plethora of professional
resources, observations, and interviews the researcher analyzed
and affinitized the collected information and applied the findings
to the development of personas, How Might We questions,
sources of opportunity within the industry, and nine key criteria
that must be considered in the development of innovative
advertising systems.
Prototypes were developed and tested, with the strengths of each
being applied to the final offering of a Project Workbook and
Creative Facilitation Workshop. The potential of the Project
Workbook is that it is capable of providing the means for
organizations to develop innovative, competitive, and unique
advertising systems for a new age of media. This study was
conducted strictly for organizations within live streaming media for
eSports; however, it was recommended that the information from
this study be put into use not for the enhancement of the
organization, but for the betterment of the consumer.
Dedication
I dedicate this project to my loving partner and best friend,
Hannah. Without her continued guidance and understanding
regarding our relationship, my projects, and my sometimes
relentless attitude of work before rest I would have never
succeeded in starting or finishing this project, let alone my
Masters Degree. She has and always will be the raging current of
the river, while I am merely the fallen tree branch caught within its
stream. Thank you for everything, Hannah.
Acknowledgement
I would like to acknowledge my friends within the live streaming
community: Adrienne, Anita, Pat, Hannah, Brian, Dave, James,
Kyle, Maarten, and Ryan. I would also like to acknowledge the
contribution from my friends in advertising: Alex, Katie, and Justin.
I would like to acknowledge the entirety of the Design
Management faculty for their assistance and growth regarding my
education. Lastly, I would like to acknowledge the tremendous
effort put in by James, the professional streamer, who provided
several sources of contact and information all due to his passion
for live streaming media and eSports.
Table of Contents
INTRODUCTION....................................................03-05
Abstract.................................................................... 04
Dedication................................................................05
Acknowledgement................................................ 05
PROJECT FRAMING.............................................08-11
Subject of Study..................................................... 08
Problem Statement................................................08
Target Audience.....................................................09
Purpose of Study....................................................09
Scope of Study........................................................10
Significance of Study.............................................11
PROJECT POSITIONING.....................................12-28
Opportunity Statement.........................................13
Collaborator Landscape.......................................13
Collaborator Analysis............................................14-24
Collaborator Insights.............................................25
ZAG Steps................................................................ 26-27
Value Proposition...................................................28
Onliness Statement............................................... 28
RESEARCH ACTIVITY AND SYNTHESIS.......29-43
Research Space Map............................................ 30
Research Methodology........................................ 31
Research Question Matrix................................... 32
Research Protocols................................................33-34
Data Collection Methods..................................... 35
Key Findings from Interviews..............................36-37
Observation Synthesis..........................................38
Personas...................................................................39-41
Summary of Insights..............................................42
Research Findings at a Glance...........................43
DESIGN OPPORTUNITIES AND CRITERIA,
REFRAMING........................................................... 44-48
Opportunities for Design..................................... 45
Opportunity for Design Map............................... 46
Design Criteria for Prototype..............................47
Reframing.................................................................48
PROTOTYPE DEVELOPMENT AND

TESTING.................................................................. 49-61
Concept Exploration..............................................50
Concepts..................................................................51-55
Testing Approach...................................................56
Concept Testing..................................................... 57-59
Final Prototype Adjustments...............................60
Final Prototype........................................................61
FINAL DELIVERABLE...........................................62-70
Packet Description.................................................63
Workshop Agenda.................................................64
Workshop Booklet................................................. 65
Business Model Canvas.......................................66
Business Structures...............................................67-69
Final Design to Market..........................................70
CONCLUSIONS AND
RECOMMENDATIONS.........................................71-72
Conclusions.............................................................72
Recommendations.................................................72
REFERENCES......................................................... 73-79
Annotated Bibliography........................................74-76
List of Figures..........................................................77-78
List of Tables............................................................79
APPENDICES......................................................... 80-136
Appendix A: Timeline............................................80-82
Appendix B: Signed Consent Forms................ 83-84
Appendix C: Protocols..........................................85-88
Appendix D: Transcriptions................................. 89-95
Appendix E: Final Design to Market................. 96-134
Appendix F: Working Wall................................... 135-136
PROJECT FRAMING
Figure 4. Project framing icon. Authors image.

7
Subject of Study
Online live streaming media organizations provide advertisers the
potential to creatively reach loyal and engaged viewers within the
eSports market through new and innovative methods.
Problem Statement
eSports can be categorized as professional computer gaming
that is housed in both a digital and physical reality. There are
celebrities, professional teams, large events, announcers,
commentators, and an assortment of games to keep the industry
growing in popularity (Taylor, 2012). Users are now capable of
immersing themselves with unlimited access to their favorite
video game or celebrity gamer in real time. This is capable due
to the emerging service of online live streaming media that has
been coupled with the eSports market. (Taylor, 2012). Due to the
live feed nature of the service, the current advertising system
is a disruptive device that leads to an intrusive experience for
the audience and actively blocks the viewer from experiencing
live content. An organizations brand value is potentially being
harmed and experiencing lesser impression quality due to the
current advertising system, which is arguably the opposite of the
systems intended effect.
Target Audience
The target audience for this project was divided into two vital
groups: the current users of online streaming media and the live
streaming organizations that control the advertising content.
This first group, the current users, continually visit live streaming
websites and provide analytical data for advertisers with each
visit, while also acting as a consumer group for the advertisers.
The second group consists of various online live streaming
media organizations. These organizations control the form and
content of all advertising regarding their websites and hold the
potential to enact change.
Purpose of Study
The purpose of this study was to apply design thinking to
understand and develop criteria for more effective advertising
platforms based on human-centered design in online advertising
within the realm of live streaming media for eSports. Reaching
a better understanding of this interaction ultimately can lead to
further exploring the development and creation of empathetic
Scope of Study
Throughout this project the researcher utilized processes and
techniques within the Design Management field within the
boundaries of online live streaming advertising, while studying
online advertising as a whole to enhance understanding of the
subject matter. The researcher did not seek to provide insights or
understanding in other forms of media outlets such as television,
print, radio, and out-of-home marketing as their relevance is out
of scope for this particular project.
The scope of this project has no geographic center as it was
purely based on a digital environment whose users span the
entirety of the globe. The research subjects within the project
included strategy and planning advertisers, users of the live
stream media services, and a professional eSport gamer currently
broadcasting through online live streaming media.
This project was conducted over a ten week period that began on
September 14, 2015 and ended on November 19, 2015.
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Significance of Study
Throughout this project the researcher applied the culmination of
his academic learning within the field of Design Management to
solve a current and real-world business problem.
Process and ways of thinking typically associated with Design
Management are showcased in this project and provided an
opportunity for those methods to be used in a unique context by
the researcher.
Clients using the criteria developed through this process will
potentially have the capability to apply their findings to ondemand and traditional media outlets. Clients may also discover
that the application of their findings may potentially enact change
in advertising platforms throughout all current and future media
offerings.
The researcher was pleased to propogate understanding of
live streaming media, eSports, and advertisingall of which are
growing industries that serve of interest to the researchers future
career goals.
11
PROJECT POSITIONING
Figure 5. Project positioning icon. Authors image.

12
Opportunity Statement
Live streaming media services lead to the expansion of the fan
base for the emerging market of eSports entertainment. eSports
is continuing to grow in popularity on a global scale with live
streaming websites serving as the vehicle currently providing an
unlimited stream of access for its fan base (Twitch Interactive Inc.,
2014). These online live media streaming websites are currently
offering advertisers a system that adopts the best practices of
online advertising methods that have originated from different
entertainment media such as television, mobile devices, and
various techniques currently applied throughout the internet
(Smith, 2015).
There was an opportunity to improve both the impression quality
for the viewer and the brand value for the advertiser through
the advertising system provided by the live streaming media
organizations. To facilitate a more enjoyable and immersive
entertainment experience, an enhanced version of the advertising
system is needed. Advertisers may also potentially leave a
greater positive impression on an emerging media service with a
rapidly growing audience through the use of these new systems.
Collaborator Landscape
The live streaming community has been developing on the
internet for the past several years. Live streaming media
organizations offered an easily accessible platform for viewers
and streamers alike to enjoy the niche entertainment of electronic
sports. There are three forms of live streaming media available
that fall within the catagory of eSports: Community eSports
organizations, Professional eSports organizations, and eSports as
an offering within a multitude of other industries.
13
Community eSports
Organizations
Collaborator Analysis Chart: Twitch
Community eSports organizations
provide live streaming media
platforms that allow amateurs,
budding celebrities, event hosts,
professional individuals, and
professional teams the capability
to stream live content from their
computers for others to see.
14
www.twitch.tv
Twitch.tv was purchased by Amazon in a bidding war with Google
for $1B. Twitch.tv is a organization that offers free live streaming
media with an emphasis on eSports. Recently, their website was
expanded to include channels to stream creative content.
Table 1
Collaborator analysis chart for Twitch
Objectives
Providing a platform for live streaming

available to the public and spreading gaming
culture on a global scale.
Members
Entrepreneurs, Entertainers, Instructors,

Hobbyist, Professional eSport Gamers.
Lessons
A multitude of games are available that

provide a large degree of options for
viewing.
Approach
Providing a gathering point for amateur and

professional eSport participants through live
streaming media.
Channel
Online presence, events, conventions.
Collaborator
Opportunities
Largest amount of streamers and channels.
Collaborator Analysis Chart: HitBox
Collaborator Analysis Chart: YouTube
www.hitbox.tv
www.gaming.youtube.com
Hitbox.tv is an organization that provides live streaming media

and on-demand content for individual and eSports teams. Hitbox
is attempting to develop innovative ways for viewers and streams
to interact via online live streaming video and chat.
YouTube is an organization that is globally renowned for

on-demand video content. YouTube provides users the capability
to post recorded videos of themselves for others to watch at any
time. As of late 2015, YouTube has revamped their live streaming
offering and pushed it into the growing industry of eSports.
Table 2
Collaborator analysis chart for HitBox
Table 3
Collaborator analysis chart for YouTube
Objectives
Hitbox is looking to take on the major live

streaming offerings by including a deeper
level of interaction between viewers and
streamers.
Objectives
Providing a platform for live streaming

available to the public.
Members
Entrepreneurs, Entertainers,
Instructors, Hobbyist, Professional eSport
Gamers.
Members

Lessons
Simplistic and direct layout, on-demand

content also made available.
Lessons
Easy to understand iconography, on-demand

content also made available.
Approach
Providing deeper interaction than

previously seen through live
streaming media services.
Approach
Using an already stable system of video

entertainment to provide for the upcoming
live streaming market.
Channel
Online presence only.
Channel
Online presence, events, conventions.
Collaborator
Opportunities
Various interactive offerings within their chat

function, such as live polling and gif posting.
Collaborator
Opportunities
Video storage of recently streamed events.
15
Collaborator Analysis Chart: D!ng It (Beta)

www.dingit.tv
Slowly developing itself in the background, the creators of D!ing
It TV have launched the beta version of their online offering
with less stream delay and cash prized tournaments. The D!ng It
creators provide unique opportunities that expand on previous
live streaming platforms within eSports.
Table 4
Collaborator analysis chart for D!ng It
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Objectives
Providing a platform that has fewer delays

than previous offerings with in-house
hosted cash prize tournaments.
Members

Lessons
Offering cash per viewer and unique

tournament hosting.
Approach
Providing a one-stop shop for eSports

entertainment. This includes news, unique
tournaments, calendar of events,
livestreaming, and re-run offerings.
Channel
Collaborator
Opportunities
Average view delay of four seconds.
eSports Alongside a
Multitude of Other Industries
Collaborator Analysis Chart: LiveStream
These organizations have created
platforms for any business, event,
or individual to pay a monthly fee
for the ability to stream live content
to their viewers. They do not focus
on eSports, but instead cover
any form of media that their client
organizations wishes to broadcast
live over the internet.
www.livestream.com
Livestream is an organization that offers businesses and
individuals the capability to purchase a channel on the livestream.
com website. Livestream offers their clients the ability to chat,
keep on-demand content, re-wind live content, and do away with
any advertisements and branding.
Table 5
Collaborator analysis chart for Livestream
Objectives
Providing a website where their clients are

capable of streaming live content for a
monthly fee.
Members
Businesses, Consumers.
Lessons
Charging for streaming

services.
Approach
Creating an up-to-date and easy to set up

platform for streaming services for any client
that wishes to do so through various
payment structures.
Channel
Collaborator
Opportunities
Rewinding of live streaming media as it takes

place.
Popular accounts section.
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Collaborator Analysis Chart: Ustream

www.ustream.tv
Ustream is an organization that offers live streaming capabilities
to any business, person, or organization that finds the need to
utilize such an activity. Ustream has covered a wide variety of
offerings, such as: product releases, major press releases, how-to
classes, international protest, church services, etc.
Table 6
Collaborator analysis chart for Ustream
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Objectives
Allow businesses and societies to maintain

transparency while cultivating more
meaningful relationships between streamer
companies and viewers.
Members
Businesses, Consumers.
Lessons
Creating offerings for broadcasters, teams,

and marketers.
Approach
Offering a completely customizable

streaming platform for any organization,
business, or person that wishes to pay a
monthly fee.
Channel
Collaborator
Opportunities
Completely customizable pages.
Professional eSport
Organizations
Collaborator Analysis Chart: Major League Gaming
Professional eSport streaming
organizations currently have
the capability of hosting live
streaming content for major eSport
events around the world. These
organizations focus solely on
providing live content, on-demand
videos, and information regarding
major events, conventions, and
professional individuals and teams
regarding eSports around the
world.
www.majorleaguegamng.com
Major League Gaming was founded in 2002 as a professional
eSports organization. Beyond sponsorships the organization has
expanded its offerings to that of MLG.tv. MLG.tv is a live streaming
media platform the organization has dedicated to hosting live
video of eSports tournaments and events.
Table 7
Collaborator analysis chart for Major League Gaming
Objectives
An organization dedicated to the expansion,

sponsorship, and viewership of events within
the eSports industry.
Members
Professional eSports Gamers, Enthusiast.
Lessons
A channel selection tool that is within the

same interaction box of the chat device to
allow for easily switching live channels.
Approach
Using a well-known eSports tournament

brand to expand its offering into the live
streaming content that is currently being
sought after by the eSports community..
Channel
Online presence, eSports events and tournaments.
Collaborator
Opportunities
Dedicated eSport professionals that may

bring strong personalities with dedicated
followers.
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20
Collaborator Analysis Chart: Cutting Edge
Collaborator Analysis Chart: ViaGame
www.cuttingedgesports.com
www.viagame.com
Cutting Edge is an organization that host and manages live

streaming eSports events. Their business platform is built around
collaborating with various live streaming websites and serves as
a middleman with customization offerings for a variety of eSports
teams.
ViaGame is an organization that provides eSports information in

the form of Interviews and video on-demand (VODS). ViaGame
live streams major tournaments for eSport games through its
website and provides a detailed and organized layout to access
these videos once it is completed.
Table 8
Collaborator analysis chart for Cutting Edge
Table 9
Collaborator analysis chart for ViaGame
Objectives
Provide viewers with the option of watching

sponsored eSports events. Cutting Edge
also works as an eSports team apparel and
product provider.
Objectives
Providing in-depth interviews with eSport

celebrities and live streaming major events
while cataloging the videos from those
events.
Members
eSport viewers, eSport teams, eSport event

holders and streamers.
Members
eSport enthusiast, eSport tournament host.
Lessons
Playing a single sponsored video to cut back

on clutter and indecisiveness.
Lessons
Simplistic and holistic layout for live

streaming and on-demand video for the
professional side of eSports.
Approach
Consulting eSports teams on design and

offerings. Promoting single live
streaming events through their website.
Approach
The simplistic design allows for less clutter

and easy to find videos.
Channel
Channel
Collaborator
Opportunities
Design packages for teams, partnerships

with other live streaming media and tournament outlets.
Collaborator
Opportunities
A segregation of professional gaming and

eSport upstarts.
Collaborator Analysis Chart: GFINITY

www.gfinity.net
GFINITY is an organization that offers users the ability to observe
major eSports events through three different partnerships within
live streaming media in an easily navigable system. GFINITY
covers eSports gaming through news, team profiles, and the
analysis of players and prior performances.
Table 10
Collaborator analysis chart for GFINITY
Objectives
Providing a one-stop professional eSports

database.
Members
eSports enthusiast, eSports even hosts.
Lessons
Offers a great deal of easy to understand

information directly from the landing page.
Approach
Partnering with live streaming websites and

event host to create a holistic offering of
professional eSports information.
Channel
Collaborator
Opportunities
Increased exposure within the professional

side of the eSports industry.
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2x2 Viewer/Streamer
Interaction
The level of interaction

between viewers maintains a
critical component in audience
acceptance of advertising as
traditional forms of media
content become increasingly
ignored (Heath, 2012). Through
their offerings, live streaming
media organizations provide the
potential to create celebrities out
of the most unlikely individuals
while also allowing professionals
to exhibit their skills. Immediate
interactions between viewer
and streamer are capable due to
the live feed nature of this form
of media, which is ripe with the
possibility for innovation to take
place.
Figure 6. 2x2 analysis of the research space for viewer/streamer interaction. Authors image.
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2x2 Ad Space
Live streaming organizations are

currently offering a multitude of
options considering advertising
and monthly subscriptions.
Advertisements increase as the
freedom to view and stream are
offered without a subscription, but
advertisements have the ability to
disappear or become customized
as monthly subscription rates
increase.
Figure 7. 2x2 analysis of the research space for ad space. Authors image.
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2x2 Customization
Customization on behalf of
the viewer and on behalf of
the streamer allows for the
assessment of capabilities for
future advertising platforms. The
higher the level of customization
between each of the categories
allows for a higher level of
flexibility for advertisement design
and functionality.
Figure 8. 2x2 analysis of the research space for customization. Authors image.
24
Collaborator Insights
Insights were created through the analysis of the competitor
charts and 2x2 matrices:
1. Live streaming media organizations are offering no unique
advertising platforms.
2. Viewers are limited to a chat box with various simplistic
functions.
3. Live stream media organizations are pursuing greater interactive
platforms.
4. Amateur online celebrities are forcing adjustments to be made
within online media offerings.
25
ZAG Steps
ZAG is a branding method

developed by Marty Neumeier.
Mr. Neumeier seeks to assists
organizations through a
17-step process in developing a
clearly defined description of the
organizations brand to ensure they
are a unique and effective offering.
Step 1: Who am I?
Tune In is a set of criteria developed through the use of design
thinking that live streaming organizations use to facilitate the
creation of innovative advertising systems for live streaming
media regarding eSports.
Step 2: What do I do?

The intent of Tune In is for live streaming organizations to use
the information contained within in the creation of innovative and
more impactful advertisement systems in live streaming media
regarding eSports.
Step 3: What is my vision?

The vision of Tune In is to have increased interaction and
acceptance of online advertisements.
Step 4: What wave am I riding?

Tune In is meant to be used to capitalize on the exponentially
growing trend of watching eSports on live streaming media.
Step 5: Who shares the brand-scape?

There is a growing number of organizations who are creating
platforms of live streaming media for eSports. The current
organizations are offering similar and traditional online
advertising systems to their viewers.
26
Step 6: What makes you the only?
Step 12: How do you spread the word?
Tune In is the only collaborative study where design thinking

is used to create a set of development criteria for creating
empathetic advertising platforms for live streaming media
regarding eSports.
Sending the set of criteria to online streaming services and being

hired by those services to create change from the inside.
Step 7: What should I add or subtract?
Through application and use of the criteria to develop updated

Step 13: How do people engage with you?
The researcher should add capabilities for the criteria to be used

by advertising systems outside of live streaming media.
Step 14: What do they experience?
Step 8: Who loves you?
Advertising systems developed through human-centered design.
Viewers, streamers, and relevant organizations.
Step 15: How do you earn their loyalty?
Step 9: Whos the enemy?
Experience of using the criteria and activities mixed with the

potential positive response from the new advertising systems.
The enemy is the resistance to change within advertising and

large corporate structures.
Step 10: What do they call me?

Tune In.
Step 11: How do you explain yourself?

The researcher develops criteria for innovative and more
impactful advertising systems.
Step 16: How do you extend success?

By adapting the criteria to media platforms outside of live
streaming.
Step 17: How do you protect your portfolio?

Each advertising system created from the criteria has the
potential to be unique from the ones that come before and after
each new creation.
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Value Proposition
Tune In is FOR live streaming media organizations WHO are
seeking innovative approaches to advertising within the growing
industry of eSports being broadcasted through live streaming
media.
Tune In is a set of criteria that was developed through
design thinking that serves as a guide for creating these new
approaches to advertising. IT DOES THIS BY engaging viewers
of live streaming media with advertisements that are developed
with the same entertainment value as the stream itself while
maintaining a foundation of progressive advertising tenets.
UNLIKE previous advertisement systems that have been
adapted from previous and dated platforms, Tune In provides the
potential to create innovative platforms in live streaming media
advertising for eSports with the opportunity for a higher degree
of impact and interaction from its viewers.
Onliness Statement
Tune In is the only collaborative study where design thinking is
used to create a set of development criteria for live streaming
media organizations regarding eSports in a digital and physical
format for the creation of empathetic advertisement platforms in
an era of exponential growth for new media.
WHAT: The only collaborative study
HOW: where design thinking is used to create a set of
development criteria
WHO: for live streaming media organizations regarding eSports
WHERE: in a digital and physical format
WHY: for the creation of empathetic advertisement platforms
WHEN: in an era of exponential growth for new media
28
RESEARCH ACTIVITIES
AND
SYNTHESIS
Figure 9. Research activities icon. Authors image.

29
Research Space Map

The overall context for this project has been
highlighted by the researcher through the
development of the research space map.
The core of the research space, positive
viewer impact, has been expanded into four
intersectional categories: online advertising,
eSports, streaming services, and
user-experiences. Through the identification
and exploration of these four categories
through the use of design thinking, this
project located connections that lead to the
cultivation and creation of criteria that serve
to ultimately enhance the effectiveness of
advertising systems within online streaming
media services.
Figure 10. Map of the studys research space. Authors image.

30
Research Methodology
The primary methodology was that of a qualitative contextual
research project as it is practiced in the design field with an
ethnographic lens focusing on the livestreaming advertising
market for eSports. This methodology was useful due to the
limited number of offerings within live streaming media for
eSports. Live streaming media carries a heavy social context
and therefore requires a human-centered approach to develop
accurate solutions for future offerings.
Main Research Question

How might a set of criteria, derived through design thinking, be
useful for creating effective advertising in live streaming media
for eSports?
Sub Research Questions

1. How might design thinking be a conduit for solving complex
problems within advertising systems?
2. How might a set of critiera need to be structured so that live
streaming organizations may accurately predict the outcome of
future systems?
3. How might live streaming media be a catalyst for new advertising
platforms?
4. How might the advertising industry adapt to evolving media
opportunities?
5. How might we create a more impactful advertisement system for
eSports?
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Research Question Matrix

Table 11
Research question matrix
How might a set of criteria, derived from design thinking, be useful for creating effective advertising
in live streaming media for eSports?
What does the
researcher need to
know?
How might design thinking

help in solving complex
problems within advertising
systems?
How design thinking is

applied to solve wicked
problems
How might a set of critiera

need to be structured so that
live streaming organizations
may accurately predict the
outcome of future systems?
How to properly construct

a list of criteria based on
design research
How might live streaming

media be a catalyst for new
advertising platforms?
Analytical assessments of
the progress of live stream
media
Ability to incorporate change
Why does the

researcher need to
know this?
What type of data is

needed?
Where can the

researcher find this
data?
To properly incorporate
design thinking into the
process and completion of
the project
Qualitative: Secondary
Related academic reading
Quantitative: Secondary
Professional news and

magazine articles
To accurately predict the

success of future systems
based on certain qualifiers
Qualitative: Secondary
Professional news and

magazine articles
To establish a greater
understanding of the industry
Qualitative: Secondary and

Primary
Internet: Case studies, news

articles
What type of data

collection methods are
needed for this?
Secondary Research
Quantitivate: Secondary
Research personnel within

the SCAD Library
When does the

researcher need to get
a hold of this data?
What will the

researcher be taking
away from this data?
Secondary Research
Research personnel within

the SCAD Library
What might the

researcher be missing?
How might the
researcher be wrong?
Monday, September 22, 2015
Dependable and systemic

design solution principles
Design thinking is complex

and difficult to master.
Misunderstanding of its
processes may lead to
incorrect and inaccurate
solutions.
Monday, September 22, 2015
The ability to construct

criteria to accurately predict
the success of new systems
Criteria development may

not be as effective as a
workshop.
Friday, October 9, 2015
Industry knowledge and

functionality
Online live streaming may

not be a strong catalyst for
new advertising platforms.
Design Management
professors at SCAD
Design Management
professors at SCAD
Secondary Research
Interviews
To locate and establish areas

of opportunity
Who does the

researcher contact for
collecting this data?
Strategic Planner within the

marketing firm Foote, Cone,
and Beldings Chicago office
Industry members
Observations
Live streaming media

organizational employees
Secondary Research
Strategic Planner within the

marketing firm Foote, Cone,
and Beldings Chicago office

websites
Valuable interview
participants may not be
readily available.
Likelyhood of adoption
How might the advertising

industry adapt to evolving
media opportunities?
Current advertising platforms

and their current capabilities
To understand the balance

between advertising and its
platforms
Internet: Case studies, news

articles
Interviews
Adaptability
Measures of success

Primary
To locate and establish areas

of opportunity
Industry/community
members
Current capabilities and

practices within online
advertising
Current platforms could be

performing adequately
Interviews carry the potential
to be out of scope
Observations
How might we create a more

impactful advertisement
system for eSports?
Industry background and

future predictions for growth
User group information
Advertising potential
To effectively develop
working solutions to current
issues

Primary
Quantitative: Primary and
Secondary
Secondary Research
Viewer community
Internet: Case studies, new

articles
Interviews
Professional and casual

streamers
Observations
Industry/community
members
websites
32

organizational employees
A greater understanding of
user interactions within live
media streaming for eSports
The eSport user group may

not have a strong opinion on
the current advertising model
Valuable interview
participants may not be
readily available.
Research Protocols
Consent Form
Tune In: Criteria for effective livestream advertising.
Informed Consent Form
The following information provides an introduction to field research that will be conducted in Savannah, GA
between September 14, 2015 to November 19, 2015 by Todd Hinkle, Design Management graduate
student at the Savannah College of Art and Design.
I voluntarily agree to participate in an interview/inquiry performed by students at the

Savannah College of Art and Design. I understand that this interview/inquiry is being
RESEARCHER BIO:
Todd Hinkle is a Design Management M.A. candidate at the Savannah College of Art and Design. His
professional background consist of military training for infantry tactics and leadership, a B.A. in marketing,
sales experience, and interning as a strategic planner at Foote, Cone, and Beldings Chicago office.
Research protocols are devices

used to inform research participants
of the subject matter and
background of the project. They
also serve as a record of consent
of those who wished to be involved
as research participants within the
project.
PURPOSE OF THE STUDY

The purpose of this study was to apply design thinking to understand and develop criteria for more
effective advertising platforms based on human-centered design in online advertising within the realm of
live streaming media for eSports. Reaching a better understanding of this interaction ultimately can lead
to further exploring the development and creation of empathetic advertising systems
RESEARCH QUESTION(S)
Our research will be guided by the following question(s):
Todd Hinkle
conducted by _______________________________,
in order to identify
opportunities for design.
I understand that the evaluation methods which may involve me include:
1. the recorded (audio and/or video) observations of my work

2. my completion of an evaluation questionnaire(s) and/or
3. my participation in a 30-90 minute interview.
How might a set of criteria, derived from design thinking, be useful for creating effective advertising in live
streaming media for eSports?
I grant permission for the interview/inquiry to be recorded and transcribed, and to
Todd Hinkle
be used only by _______________________________for
analysis of interview data.
DATA COLLECTION METHODOLOGY

Data will be collected through:
Surveys, interviews, and observations.
I grant permission for the evaluation data generated from the above methods to be
used in an educational setting.
DATA MANAGEMENT
Data will be anonymized through participants request or researchers decision.
Data will be stored via:
Digital audio recording devices, digital and physical written notes, photographs, and video.
All data will be represented and stay in circulation in the form of a final process book.
CONTACT INFORMATION
This project is being conducted through the Design Management department at the Savannah College of
Art and Design. For additional information please contact Regina Rowland at rrowland@scad.edu.
Project Design Manager:
Todd Hinkle, thinkl20@student.scad.edu, (706)-840-1297.
I understand that any identifiable information in regard to my name and/or company

name will be removed from any material that is made available to those not
directly involved in this study.
_______________________________________
Research Participant Name and Signature
_______________________________________
Date
Printed 11/14/2015
Advertiser Interview Form
Live Stream Professional Interview Form
Professional Advertiser Interview Form

Interviewee Name:
Streamer Interview Form

Tune In - Contextual Research Collection

Sex:
Interviewee Age:
Occupation:
Date:
Time:
Interviewee Name:
Occupation:
Interviewee Age:
Date:
Sex:
Time:
1. Tell me about your job and what it is that you do?

2. Tell me about the current advertising platforms in live streaming media
from your point of view as a streamer?
1. How do you define advertising?
3. Do you have a consistent viewer base?
2. What do you think are advertisings core values?
4. Why do you think they continue to visit your stream?

3.What do you think the goals of advertising are?
5. Do you interact with your users?
4. Do you think there is a difference between online advertising and other types of advertising?
6. If yes, how?
5. Is there something special about online advertising?
7. Are there events, offerings, or special occasions that you feel work in
drawing in new viewers?
6. What do you think consumers are looking for when they see advertisements?
8. Have you noticed events, offerings, or special occassions that spur

viewers to interact more in the chat channels?
7. How might consumers see advertising as negative?
9. Have you noticed any interactions that other streamers have done that
have improved their user base?
8. Do you use certain methods to construct your advertisements?

9. Have you noticed any advertisement methods or platforms that have been effective previously?
10. Tell me about when you had the most viewers visit your stream and
describe what you were doing at that time?
10. Have you noticed any interesting advertising methods that have emerged recently?
11. Have you ever noticed anything that has caused a negative reaction
from your users?
11. How do you picture the future of advertising?
12. Whats your vision of the future of live streaming media?
Viewer Interview Form

Live Stream Viewer Interview Form
Interviewee Name:
Occupation:
Observation Research Form

Observation Form

Interviewee Age:
Date:
Sex:
Time:
Location:
Time:
Date:
1. What websites or services do you typically use when you want to watch live streaming media?
Photo of observation space:
2. How often do you visit live streaming websites?

3. Walk me through what you do when you visit live streaming websites?
4. Do you use live streaming websites as a primary or secondary form of entertainment?
5. Do you multi-task when you watch the streams?
6. What drives you to use that form of entertainment?
Observations:
7. What level of interaction do you seek when you visit these websites?
8. Have you had any memorable experience on a live streaming website so far?
9. If yes, what was it like?
10. Have you had any negative experiences? What happened and what was that like?
12. What would you like to see in the future of live streaming entertainment?
Figure 11-16. Research Protocols. Full size images are

located in Appendix C. Authors images.
33
Research Activities
Secondary research was conducted between the months of June
to September in 2015 to establish foundational understanding of
advertising, eSports, live streaming media, design thinking, and
the development of criteria.
Observations were executed in two separate occasions during
the month of September in 2015 utilizing a fly on the wall
approach of live streaming media viewers in their personal
environments.
Semi-structured interviews were conducted between the months
of August and September in 2015 with six enthusiast of eSports
on live streaming media.
Semi-structured interviews were conducted during the month of
August in 2015 with three professional advertisers within UX and
strategy.
A semi-structured interview was conducted during the month of
August in 2015 with one professional eSports live streamer.
34
Research Participants
Data Collection Methods
This section includes the

description of those who chose
to willingly participate in the
research through either interviews
or observations, an explanation of
how the data was collected, and
a description of how the data was
processed and analyzed.
Observations and interviews regarding eSport enthusiast

consisted of volunteers within the viewer community and
moderators of channels of professional eSport streamers.
Interviews regarding advertising were conducted with employees
of the Chicago office of the marketing firm Foote, Cone, and
Belding in the Strategic Planning and UX departments.
The interview regarding a professional eSports streamer was
with an expert in the field who has chosen this industry as his
occupation and main source of income.
Data Collection
Qualitative data was collected via semi-structured interviews
that were designed with ambiguity by the researcher so that
the interviewee may answer their questions in any manner they
pleased. The researcher used this data collection method in the
cultivation of unique insights from each of the participants.
Qualitative data was also collected through observations by
the researcher for the purpose of providing a glimpse into the
personal environments of the research participants. One of
the participants observed has watched live streaming eSports
for several months, while the other participant has only been
exposed to it for approximately one month.
Processing of Data
The data was collected through audio recordings, various notetaking devices, and photographic recording. The data was
then transferred to a working wall where it underwent various
organizational processes and affinitization by the researcher
to cultivate a comprehensive and holistic understanding of the
information.
Analysis of Data
Once the researcher processed the data appropriately, the use
of various organizational models such as personas, semantic
profiles, and key findings were created to effectively assist in
eliciting insights for future criteria development.
35
Key Findings from Interview

Synthesis
These key findings are the

culmination and holistic view of
the information gathered from the
interview research synthesis.
Ive got my laptop and I

might do some reading with
it on in the background or
something like that.
- Dave N.
I feel like thats totally
find to have on in the
background since I can
come in for the
punchline and zone
back out and not really
miss anything
substantial. - Kyle F.
...you get people typing in

the chat, what happened?
What happened??
-James A.
ATTENTION
A lot of this is community

driven... - James A.
...I always hit the

following button just
in case I miss
somebody who is
always streaming...
- Kyle F.
Occasionally youll see roleplay streams where theyll

dress up like someone or act
like someone. -James A.
Figure 17. Final synthesis working wall. Authors image.
36
I think it would be
pretty cool if some of
the unknown games or
some of the game that
people dont normally
watch were able to
have some viewers or
some publicity.
- Kyle F.
Viewers were dividing their

attention between mutiple
other taskings while watching live
streaming media. Due to their lack
of focus on what is taking place on
the stream they are viewing, they
tend to miss important moments or
exciting plays.
...I make donations to

FilthyRobot occasionally.
- Maarten B.
SUPPORT
...like a lot more people

could watch it without
having a computer to see it
necessarily. - Ryan T.
VARIETY
The viewers have created

communities with other viewers who
have met in the common interest
of following a streamer. They enjoy
interacting with each other and work
to support the streamer and the
growth of the overall community.
Viewers thoroughly enjoy watching

their favorite streamers play, but
also seek out new opportunities for
entertainment. They also want to
see live streaming entertainment
expand its internal and external
offerings in the near future.
...the community thats set up

there has been deliberately set
up in a way thats supposed to
promote there being meaningful
interaction. -James A.
Sometimes [chat] will
be going too fast and Ill
type out my response
and the conversation has
jumped to somewhere
else or Ill think of a
response and its jumped
to somewhere else.
- Kyle F.
COMMUNICATION
You get people who like

the game but either cant
play it on their own or dont
have the time or just enjoy
watching it. - James A.
The whats in it for me
will be like I just got some
information about this
thing that relevant to me,
but I think thats ultimately
what people look for...
- Alex S.
experience has increased

exponentially in value primarily
because the advertising space
has gotten so loud and noisy.
- Katie S.
...the most effective thing is
not getting compartmentalized
about what you like or what
your client likes, but really what
the person who will buy the
product or engage with this
advertisement will like, enjoy,
and appreciate and be useful
to them. - Justin D.
I would definitely say I like

when [streamers] speak to
the chat or answer questions
from chat. I like them to
interact with the audience a
lot. - Ryan T.
I always want to kind of

get something out of it or
at least learn a little bit from
it. - Kyle F.
VALUE
[Online advertising] is more

disruptive and in my opinion
a lot lazier and just not as
good. - Alex S.
IMMERSION
Viewers will continue to return to

channels where they feel
appreciated and have the ability to
actively communicate with other
viewers. They also wish to see the
streamer interact on occassion with
themselves or others in the chat.
The viewers are looking for several

things that are unique to their own
enjoyment when searching for a
stream to watch. The majority of
these qualifications are viewers
that are looking for a streamer that
would be considered an expert; so
that they might learn how to play
better themselves, or some outside
value that serves to enhance their
life in a relevant way at the time of
viewing.
Viewers see live streaming media as

a form of entertainment and seek to
immerse themselves in the culture
and gameplay that come with it.
Anything that interupts or takes
them away from this experience will
decay their immersion and will be
regarded as negative.
37
Novice Enthusiast
Veteran Enthusiast
Figure 18. Picture of Novice

Enthusiast watching
Twitch.tv. Authors Image.
Figure 19. Picture of Veteran

Enthusiast watching
Twitch.tv. Authors Image.
Observation Synthesis
The researcher is using the

semantic profile to portray the
culmination and holistic view of
the information gathered from the
observation research synthesis.
Short Viewing Periods

Low Interaction
Long Viewing Periods

High Interaction
No Multi-tasking
Several Multi-taskings
Relaxed Posture
Attentive Posture
Unfocused on the Game
Focused on the Game
Unfocused on the Chat
Focused on the Chat
Low Volume
Watched One Channel
Watched One Game
Low Time Per Channel
Didnt Watch Ads
Didnt Click on Ads
High Volume
Watched Multiple Channels
Watched Multiple Games
High Time Per Channel
Watched Ads
Clicked on Ads
Figure 20. Semantic profile of observation synthesis. Authors image.
38
Persona 1: Jason Crawford

22 years old
Single
Student
eSports Enthusiast and Gamer
Accepts $30,000 a year from loans for living expenses
Lives in an apartment close to campus
Plays Magic the Gathering with a group of friends
THINK AND FEEL

I need to increase my skill level.
I want to learn about new games.
HEAR
The best players have the highest views.
Subscribe to support the community.
SEE
Figure 21. Stephen Rivera. Picture representing Persona One. 2013
Rivera. Reprinted with permission.
Narrative:
Alex typically finds himself turning on Twitch.tv several times

throughout his day. He uses the app on his smartphone and
watches a stream for a few minutes when he can between
classes, meals, homework, and hanging out with friends. Once
Alex is home for the night he will usually turn on his home PC with
dual monitor set-up and turn one monitor on to Twitch.tv while
the other is used to play games, scroll through Reddit, or work on
homework until he goes to sleep.
I can learn from the best in the world.

A new community of like-minded people.
SAY AND DO
I like to talk about my own strategies.
I give donations to support a streamer I enjoy.
Needs: A constant internet connection, constant flow of
information regarding topics of interest, quick and easy to use

formats for sporatic entertainment.
Motivations: Increasing his own gaming skills, something to

talk about with friends who watch, finding entertainment options
to fill boughts of boredom.
Pain Points: Low resolution and bad connections that decrease
quality of gameplay, distractions from the action, irrelevant chat
questions and topics.
Satisfaction Points: Exciting and new tactics used in games
he enjoys, large monitors, fast connection speeds, being walked
through whats taking place in a game.
Figure 22. Semantic profile for Persona One. Authors image.

39
Persona 2: Chris Newsome

38 years old
Married with two children
Brand Manager
Old School Gamer and Full Time Dad
Makes $90,000 a year
Owns a home in a suburban neighborhood
Enjoys light exercise on a daily basis
Participates in activities with his children
Figure 23: Garon Muller. Picture representing Persona Two. 2015
Muller. Reprinted with permission.
Narrative:
Chris has played video games like Pacman and Tetris since he
was a child. Over the years his taste have evolved into more
up-to-date games that he enjoys playing when time allows. His
wife and children take up the majority of his free time after work
and on the weekends, but he still manages to watch others
play on live streaming media by using the phone apps that are
available for convenient viewing. Chris looks after himself by
eating healthy and exercising daily, but knows when it comes to
downtown there isnt much else he would rather do than watch
someone play a game on live streaming media or simply play one
himself if time allows.
THINK AND FEEL

I dont have the time to play.
I want to learn quickly and from the best.
HEAR
Exciting games are constantly being released.
Streamers have to support families just like I do.
SEE
Viewers are constantly donating / subscribing.
Streamers not using their time efficiently.
SAY AND DO
I quickly jump in and out of viewing.
I watch when my kids are in bed.
Needs: More convenient methods to watch his favorite games

without interruption, less downtime between game matches,
easily selectable channels for speedy viewership changes.
Motivations: Enjoying time outside of work, spending time
appropriately between family and personal interest.
Pain Points: Time constricted, needs faster options for speedy

viewing, doesnt want to be interupted when investing time into
an interest.
Satisfaction Points: Viewing from anywhere through apps
on a smartphone, 24 hour nature of live streaming media, his
interaction level is completely up to him
Figure 24. Semantic profile for Persona Two. Authors image.
40
Persona 3: Kristin Clark

24 years old
Single
Accountant
Tech blogger
Earns $45,000 a year
Lives in an apartment with a roommate
Loves to cook, exercises daily, YouTube addict
THINK AND FEEL

I still feel uncomfortable within this community.
Other viewers see me as uninformed.
HEAR
Im a girl so I dont know much about gaming.
Girls have some of the most popular chanels.
SEE
Figure 25. Picture of Hannah Foerster representing Persona Three.
Authors Image.
Narrative:
Kristin has been spending an increasing amount of her free

time watching YouTube videos and Netflix on her laptop she
purchased while she was in college. An ex-boyfriend introduced
her to gaming, but she enjoyed watching him play more than
participating herself. She learned about eSports and live
streaming media from him and has allowed her interest to grow
in the subject since their break up. She doesnt watch much
during her breaks at work, or in the morning before or after she
works out. Kristin mostly watches live streaming media at night
on her couch with a glass of wine, the laptop in her lap, and
the TV on in front of her. Her attention is divided between the
two entertainment options, but this has evolved into her regular
evening ritual.
Expert girl gamers being accepted.

Girls proving themselves.
SAY AND DO
I watch for entertainment.
I watch to build my knowledge of the industry.
Needs: Entertaining streamers and chat channels that are

informative.
Motivations: Learning about geek culture, occupying her free
time with new, fast paced, and safe but exciting options.
Paint Points: Boring or non-talkative streamers, chat that

moves to quickly to follow and learn from.
Satisfaction Points: Smaller and entertaining channels with a

community that supports questions from new viewers.
Figure 26. Semantic profile for Persona Three. Authors image.

41
Summary of Insights
1. Viewers will multi-task while watching eSports. Because of this
multi-tasking behavior the viewer will often miss key moments of
entertainment.
2. Viewers want to participate and support others within their
community, including the streamer who holds it all together.
3. Viewers will typically choose to watch streamers theyve seen
before or the most popular channels because they trust they will
provide the most value.
4. Viewers enjoy breaks in watching normal gameplay for special
events or unique and interesting offerings.
5. Viewers yern for a larger selection of channels, games, and
options and wish to be informed of ones they may not find
organically.
6. Viewers stop participating in their only form of communication,
the chat channel, if its too crowded or unruly.
7. Viewers feel connections to the streamer and want others and
themselves to be recognized for giving their time and money to
the stream.
8. Viewers visit streams to be entertained and to learn. When
streamers spend too much time away from playing a game they
can become antsy.
9. Viewers will be more likely to engage with an advertising system
if they have control over the content and timing of what they are
being shown.
42
Research Findings at a Glance Map

The researcher uncovered an immense
amount of information during the process of
completing this project. The research findings
at a glance map is provided so the readers
may quickly view and assess the entirety
of the research findings uncovered by the
researcher.
Within the orange outer rim, the original
foundation of the research may be found and
includes User Experience, Online Advertising,
Streaming Services, eSports, Design Thinking,
and Criteria. Within the large blue circles, the
findings from the affintizing process may be
found and includes Communication, Support,
Attention, Variety, Value, and Immersion.
Outside of the blue circles are surrounding
descriptions that fall within the realm of the
category within the blue circle. The large
blue lines with directional arrows show the
relationships that flow between all of the
various research categories.
Figure 27. Research findings at a glance map. Authors image.

43
DESIGN OPPORTUNITIES AND

CRITERIA, REFRAMING
Figure 28. Design opportunities and criteria, reframing icon. Authors image.
44
Insights
How might we...
There is an opportunity to...
Viewers will multi-task while watching eSports.

Because of this multi-tasking behavior the viewer
will often miss key moments of entertainment.
Maintain viewing habits without missing out on the

most entertaining parts of a stream?
Create options that will allow viewers the

capability of viewing recent events without
interupting their current stream.
Viewers want to participate and support others

Provide viewers more options of support for their
within their community, including the streamer who online communities?
holds it all together.
Develop simplistic donation and message

methods for the streamer and those within the
community.
Viewers will typically choose to watch streamers

theyve seen before or the most popular channels
because they trust they will provide the most
value.
Harness the value viewers seek from the most

popular streams to build trust in advertising?
Integrate the habit of viewing the most popular

offerings into advertisement platforms.
Viewers enjoy breaks in watching normal

gameplay for special events or unique and
interesting offerings.
Create sponsorships to integrate advertisement

offerings into development of special events?
Develop non-intrusive advertisements into highly

anticipated and viewed events.
Viewers yern for a larger selection of channels,

games, and options and wish to be informed of
ones they may not find organically.
Inform viewers of different options available

without disrupting their current viewing
experience?
Become the informative source of unknown

streamers, events, and games through integrated
advertising.
Viewers stop participating in their only form

of communication, the chat channel, if its too
crowded or unruly.
Enhance the chat experience as to not alienate

viewers from interaction?
Increase usability by creating separate chat

experiences that limit the information overload
that takes place.
Viewers feel connections to the streamer and

want others and themselves to be recognized for
giving their time and money to the stream.
Ease the burden put on streamers to recognize

their viewers individually?
Assist streamers in simplifying their interaction

levels with viewers.
Viewers visit streams to be entertained and learn.

When streamers spend too much time away from
playing a game they can become antsy.
Allow viewers access to learning without taking

away from viewers who enjoy non-game related
entertainment?
Provide options for users to learn while streamers

are no longer playing or speaking about playing.
Viewers will be more likely to engage with an

advertising system if they have control over the
content and timing of what they are being shown.
Provide viewers with the power to choose exactly

what they want to see, when they want to see it?
Enhance engagement by integrating

advertisements into entertainment options that
users are choosing to watch.
45
Opportunity for Design Map
Figure 29. Opportunity for design map. Authors image.

46
Design Criteria for Prototype

The design criteria for developing a set of strategic criteria to
be used by the researcher for this project was informed largely
by the researchers Martinsuo and Poskela (2011) in their journal
article Use of Evaluation Criteria and Innovation Performance in
the Front End of Innovation.
For the prototypes to provide positive future business potential
for the organizations who choose to adhere to their parameters,
they will need to contain the following criteria:
1. Assist in understanding and organizing the complexity of accurate
and innovative business solutions to advertising platforms.
2. Offer the capability to develop long-term strategic opportunities.
3. Offer the capability to develop unique offerings when considering
competitive analysis.
4. Push the organization to seek ideas and concepts that are
technically challenging and beyond their current knowledge base.
47
Reframing
Reframing took place in this project as the researcher uncovered
insightful information regarding user interactions with live
streaming media. The researcher originally studied advertising
as a negative aspect in the opinions of live streaming viewers of
eSports. It was found that the viewers were not overly bothered
by the disruption created by advertisements, but did not notice
or engage the ads either. The researcher pivoted the project
into the cultivation of criteria that are relevant, timely, delightful,
innovative, and strategically sound as well. When live streaming
organizations create new systems of advertising it is necessary
to ensure that not only are they not disruptive to the viewer
experience, but that they are also noticed and positively engaged
by the viewer as well.
48
PROTOTYPE DEVELOPMENT
AND TESTING
Figure 30. Prototype development and testing icon. Authors image.

49
Concept Exploration
The researcher enlisted the assistance of a second designer to
join in the conducting of a series of Crazy Eights for each of the
opportunity statements. Crazy Eights is where the participants
brainstorm up to eight concepts within a small timeframe for
each thematic element. A total of nine sessions were completed,
which provided the researcher with roughly 80 different ideas
for inspiration. After each session the ideas were analyzed and
combined to create the final five concepts that the researcher
chose for testing.
The final five concepts were each rated by adding a point
structure to the pro/con/interesting list. Those with the highest
scores were inspected and adapted to create the final concept.
50
Concept 1: Innovation Insight

Glasses
Users will be able to utilize the

processes and criteria within a
Pocket Guide for the development
of reliable innovation within
advertising platforms and
systems for eSports. Users
will be required during certain
tasks to wear glasses that are
representative of one of four
roles. The user will then argue
and make decisions based on the
role selected. The available roles
are that of a Viewer, Advertiser,
Streamer, or an Executive of their
own organization. They must
then spend a set period of time
discussing the prior concepts from
the frame of view of their chosen
perspective. This will ensure that
each viewpoint is represented
throughout the process and each
idea created by the users maintain
the high level of acceptance
required to properly diffuse new
innovations.
Pros
Cons
Of Interest
+3 Reminds the users to constantly

consider outside viewpoints.
-3 Users may feel uncomfortable.
+2 Users have the opportunity to

say what they feel outside the
realm of personal judgement
when assuming another role.
+1 Highly repeatable process.
-2 Users may not wish to roleplay

or properly participate.
+1 Easily transportable.
-1 Can be easily lost or misplaced.
+1 Easy to understand.
-1 Too much time consumption.
+1 Objects may be easily

substituted for more
appropriate items.
+2 Can be applied without the use

of props.
+3 Easily accessible information
from innovation pocket booklet.
+1 Low cost of manufacturing.
Total: 12-7+3 = 8
Figure 31. Innovation Insight Glasses concept sketch. Authors image.
51
Concept 2: Writing the Future

of History Book
Users will be exposed to a

semi-completed history book to
which they assume the role as
the new author. Outside of the
criteria necessary for accuracy;
users will fill in dates, chapter
headings, major events, future
solutions, write dialogues from
notable celebrities that used and
experienced their new advertising
systems, and other innovations
that took place once their
solutions had diffused. This will
allow users to write about their
innovative ideas as if they have
already happened and assess
assumed public perception,
timelines, acceptability, avenues of
diffusal, and likely consequences.
Pros
Cons
Of Interest
+4 Helps to alleviate the fear of

exploring new concepts when
writing about them as if theyve
already taken place.
-2 Limited uses.
+1 Users may insert themselves

as heroes of history and
innovation within their own
stories.
+3 Creates dialogues that will help

explain ideas in a more holistic
manner.
+2 Use of storytelling will help in
persuasion.
+1 Simple to reproduce.
-2 Time consuming.
-2 Requires a great deal of writing
and reading.
-2 Users may not utilize the entire
book if certain portions become
cumbersome.
Total: 10-8+1 = 3
Figure 32. Writing the Future of History Book concept sketch. Authors image.
52
Concept 3: Level Up RPG
Users will have the ability to

gamify innovation by treating
each idea as a character within
a Role Playing Game (RPG).
Characters within these games
will typically wear magical armor
and have mystical abilities that
will be upgraded as the character
levels up and gains experience.
For this prototype, each idea
will be provided updated gear,
abilities, and achievements as
each portion is filled out according
to the criteria. This will allow users
to visually see their progress
as they continue to work and
improve their idea, while building
confidence toward their final
solution.
Pros
Cons
Of Interest
+3 Visual identification of progress.
-3 May seem uninteresting to

some users.
+2 Using hobbies of gamers in

the application of their work
environments.
+3 High engagement.
-3 Large space demand.
+3 High drive for progress.
-3 Difficult to reproduce.
+1 Plethora of character models

for personalization.
+2 Interesting illustrations.
+2 Achievement System for
motivation.
Total: 13-9+3 = 7
Figure 33. Level Up RPG concept sketch. Authors image.
53
Concept 4: Cards of Creation
Users will use a deck of cards

to facilitate creative thinking
and the utilization of criteria for
innovation. The cards will be
separated into four unique decks.
The Opportunity Deck will have
one insight and one opportunity
that stems from the insight. The
Inspiration Deck will have quotes
and pictures that users may
manipulate and use in any way
they deem necessary for their
creative process. The Brainstorm
Deck will have activities listed that
users may complete to develop
a wide range of solutions. The
Criteria Deck will have the criteria
necessary for success.
Pros
Cons
Of Interest
+1 Extremely portable.
-1 Easy to misplace or lose.
+1 Extremely reusable.
-2 No true ending point.
+1 Cheap to manufacture.
-1 Not as visually stimulating as

the other prototypes.
+2 Heightened sense of
mystery as the next card
is drawn which enhances
creative and unique
outcomes.
+4 Easily understandable.
+4 Low barrier of entry for other
participants.
Total: 11-4+2 = 9
Figure 34. Cards of Creation concept sketch. Authors image.
54
Concept 5: Tune In the Board

Game
Each player will choose their

player piece, which is either a
streamer, viewer, advertiser, or
their own organization. Each
player will draw an opportunity/
insight card and roll a die to see
whose opportunity is addressed
for the game. The players will
roll and draw criteria cards and
create solutions based on the
criteria. They will then receive
currency from each individual
player if they agree that theyve
met their standards regarding
the criteria. This will allow each
player to offer unique solutions for
each question, but also hear the
solutions from other viewpoints if
their ideas do not suit the needs of
all players involved.
Pros
Cons
Of Interest
+2 Visual board game is also a

product roadmap.
-1 Several pieces and size of

the board may be difficult to
manufacture.
+2 Roles can be switched to

allow for unique play and
development experiences.
+1 High replayability.
+2 High level of entertainment for
a group.
-2 Difficult to pack up and

continue the next day.
-2 Set up may be time consuming.
-1 Potential stalemates between
player opinions.
Total: 5-6+2 = 1
Figure 35. Tune In the Board Game concept sketch. Authors image.
55
Testing Approach
The researcher then developed the top three
rated concepts into working prototypes and
tested each prototype with a group of four
participants. Two of the participants were
previously observed by the researcher and the
other two participants were new to the project.
Final Scores
Concept 1: Innovation Insight Glasses
Concept 2: Writing the Future of History Book
Concept 5: Tune In the Board Game
The researcher introducted the project to the

participants with a short Q&A session to ensure
each participant was aware of the theme,
goals, and desired outcomes. Each of the three
concepts were then introduced one at a time and
tested to completion by the participants.
The group completed each prototype while
the researcher documented the negative and
positive aspects that arose through verbal
and physical cues. At the end of each test the
participants were asked to verbally critique the
process to increase the potential success of the
final prototype.
The testing of the three concepts took
approximately three hours on October 24, 2015.
56
Concept 1: Innovation Insight

Glasses
Observations

The participants misinterpreted the pocket

guide as a quick fix, not a lengthy process
The procket guide served as an excellent

tool for instruction
The participants enjoyed the use of large

glasses as artifacts
The brainstorming session was quick, but the

amount of ideas created was limited
The participants happily assumed their

assigned roles and played the part
throughout the process
Feedback
Very clear instructional layout
-Pat B.
I like the aspect of looking at it from different

points of view... its a big plus - Pat B.
The choosing of opportunities allows me to

weigh the pros and cons
-Pat B.
I really liked the perspective stuff. It really

allowed us to think from that perspective
-Hannah F.
This is good for ok lets find a problem

-Adrienne W.
The roles engage you more

-Anita M.
Final Prototype Adjustment
Figure 36: Participants testing Innovation

Insight Glasses concept. Authors image.
The participants quickly assumed that the

pocket guide was a speedier process,
which the participants viewed as negative
when they discovered it to be extremely
lengthy
The participants enjoyed the idea of moving

to a different physical area to brainstorm
The participants enjoyed using physical

artifacts to stimulate their imagination when
taking on the perspective of the different
players in the advertisement system
The participants were provided

brainstorming activities to assist in the
facilitation of creative ideas
57
Observations
Participants seemed hesitant to begin and

were slightly confused where to start
Participants didnt understand how to use the

pieces of equipment at first
The reading of the scroll was passed off to

one of the more energic participants
Participants didnt see the process as

relevant to their own hobbies and therefore
lacked connection
The participants were confused when

reading the scroll as they didnt understand
its message
Once the process was understood, the

particpants increasingly enjoyed the
experience
Feedback
Its something different and its making your
business more fun
-Pat B.
This is almost like us creating a flowchat
-Anita M.
The achievements seem like an afterthought

-Pat B.
This may be taking away from what youre
trying to accomplish by focusing too much on the
game
-Pat B.
I would rather do something interactive like this

one
-Hannah F.
Figure 37: Participants testing Level Up

RPG concept. Authors image.
58
Participants enjoyed the concept once it

was understood, but wanted it to be used in
a more relvant way such as a roadmap
The participants found the process to be

overly complex and frustrating
Participants did not have renewed interest or

energy when gaining an achievement
Participants thoroughly enjoyed the

visualization of their progress
Observations
Participants were pushing their ideas to their

limit to test boundaries
Participants were extremely collaborative

throughout the entirety of the process
The user needed to be informed that the

rating system of one to ten is for their internal
use of critique and is useful when revisting
weaker sections of the solution
Some of the participants were hesitant to

share all of their ideas from the brainstorming
exercise
Participants seemed confused during the use

of the inspiration card
Feedback
Encourages a lot of discussion
- Anita M.
Its nice to have everything laid out for you
- Pat B.
The group effort was great
- Adrienne W.
It needs a visual component...Maybe adding a

flowchart or something
- Anita M.
If Im stuck on an idea while working on the
criteria is there a way to revitalize our creativity?
- Anita M.
We understood the goal but needed some
direction
- Pat B.
Figure 38: Participants testing Cards of

Creation concept. Authors image.
The researcher needed to insert some form

of visual roadmap into the process
The researchers card artifact was

implemented within the final prototype
Instructions needed to be revisted to add

additional clarity
The researchers brainstorming and

inspiration sections were successful and
were implemented within the final prototype
59
Final Prototype Adjustments

1. Participants requested a visual roadmap so they
may keep track of their progress.
2. Participants enjoyed the Cards of Creation
concept as it was the strongest facilitator of
chance/mystery in the selection process
3. The researchers instructions are too complex
and needed to be broken down into the most
basic level of understanding possible
4. Participants needed the brainstorming activities
to facilitate the creation of the largest number of
ideas possible regarding the intial solution
5. The participants enjoyed using the Inspiration
Cards, but the researcher must clarify their
meaning to enhance understanding of their
purpose
6. The researchers implimentation of different
perspectives through the use of artifacts was
found to be enjoyable and extremely helpful by
the participants
7. The researcher must incorporate simplicity in
understanding at each touchpoint to negate
the participants perceived complexity of the
activities
60
Final Prototype: Booklet with

Detatchable Cards
Final Prototype Description

For the final prototype the researcher created a booklet that is separated by the sections labeled
Introduction, Opportunity, Inspiration, Brainstorming, and Criteria. Each section was made up of
two parts the researcher described as instructions and cards. The participants were to read the
instructions to understand why the information in the section was useful and how to use the cards on
the next page. The card pages were connected and perforated and the participants were capable
of choosing whether to keep the cards connected on the page or tear them out and use them as a
tool for chance decision making. The Criteria section was different from the others as it consisted
of a larger page that participants tore out and used as a visual progress tracker. The torn out page
had a scoring system of one to ten for each criteria listed and each participant would take on the
role of an Advertiser, Streamer, Viewer, and the Organization and provide a rating for each of those
perspectives for each criteria. Once the process was complete the participants had developed an
innovative and competitive advertising concept.
Observations

The entire process ran smoothly from start to

finish
The participants never felt as if they needed

to slow down or stop
The participants were able to understand

each section and what they represented with
minimal debate
Slight modifications to the instructions and

sections headers needed to be made for
100% clarification
The brainstorming sessions needed a time

limit that the group should strive to meet
Participants should have only used Wild

Cards in groups containing three or more
members
Feedback
Concise and straight forward
- Anita M.
Im not sure if I need to keep the cards in order
- Hannah F.
Figure 39: Participants testing the Final

Prototype. Authors image.
The sections should be numbered

- Hannah F.
I need to know what the 1-10 score is referring

to
- Hannah F.
[the progress chart] is great because we can
visually see the ratings very quickly - Hannah F.
I dont know if I should read ahead or not at
certain points - Anita M.
61
FINAL DELIVERABLE:
WORKSHOP PITCH PACKET
Figure 40. Final deliverable icon. Authors image.

62
Description
The workshop pitch packet consists of a project
workbook, a creative facilitation session, and
upgraded content to be displayed upon its
development.
Workbook
Workshop
Additional Content
The project workbook will consist of exercises

and activities separated by the sections labeled
Opportunity, Inspiration, Brainstorm, and Criteria.
The client may use the workbook to navigate
through the process of creative innovation
without the assistance of the researcher and
the creative facilitation workshop. Once the
client has completed the workbook a structured,
accurate, and capable advertising system will
have been created.
The researcher will conduct the creative

facilitation workshop in collaboration with team
members of the client organization over a three
day period. The workshop will be provided to
the client and used to accompy the activities and
process within the project workbook. The client
will find value in the creative facilitation workshop
as the employees are led by the researcher
through the process of innovation and the
creation of a competitive and unique advertising
system.
The researcher will make the upgraded content,

to include market trends and consumer insight
information, available on his personal website
upon its completion. The client may use the
updated content to facilitate the enhancement of
older advertising systems that they created using
the initial project workbook as a guide. The client
may also use the upgraded content to aid in the
creation of new and unique advertising systems
based on updated consumer and market insights.
Figures 41-43. Icons for offerings. Authors image.

63
Workshop Agenda
The creative facilitation workshop

will be led by the researcher, who
will take the employees of the
client organization through the
entirety of the process found in
the project workbook.
The researcher will ensure that
the client meets and exceeds
the standards found within
each section so that the client
may create the most capable
advertising system possible by
day three of the workshop.
Day 1: Ideation
9-10am: Introduction to Project and Workshop
10-11am: Opportunity Selection and Discussion
11-12am: Inspiration and Discussion
12-1pm: Lunch
1-3pm: Brainstorming Sessions
3-5pm: Initial Concept Selection
5-5:30pm: Next Steps
Day 2: Criteria Fulfillment

9-10am: Introduction to Criteria
10-11am: Criteria One Discussion
11-12am: Criteria Two Discussion
12-1pm: Lunch
1-2pm: Criteria Three Discussion
2-3pm: Criteria Four Discussion
3-4pm: Criteria Five Discussion
4-5pm: Criteria Six Discussion
Day 3: Criteria Fulfillment

9-10am: Information Recap
10-11am: Criteria Seven Discussion
11-12am: Criteria Eight Discussion
12-1pm: Lunch
1-2pm: Criteria Nine Discussion
2-3pm: Final Concept Development
3-4pm: Next Steps and Conclussion
64
Workshop Packet Booklet
SECTION 2:
INSPIRATION
Figure 44. Final offering project workbook icons. Authors image.

65
Business Model Canvas
Table 12
Business Model Canvas for Tune In
Key Partners
Key Activities
Consumer Research:
Extended research will need to be
conducted to maintain revenue
and continued future business.
Live Streaming Organizations:

Live streaming organizations will
serve as the most significant key
partner for this venture as they
are the most likely to implement
future systems of advertising
platforms.
Content Creation:
Developing workshops and books
will need graphic and layout
designs that will allow for the best
results possible.
Design Firms:
Design firms whose focus of
innovation within any field will
serve as partners when searching
for new methods of creating
innovative advertising systems
and platforms.
Creative Facilitation:
The researcher will lead creative
workshops as necessary.
Advertising Agencies:
Advertising agencies will need to
devise new ways to harness and
utilize new platforms.
Key Resources
Intellectual Property:
Future content will be copywritten
to avoid illegal replication.
Printing Company:
Physical copies of the project
workbooks will need to be
printed with specialized needs for
perferation and for pages that fold
out to become larger sections.
Human Participation:
Creation of these new systems
from the criteria will only
be capable through human
intelligence and collaboration.
Workshop Booklet:
The booklet is formatted to
allow for updated information
and customization. It is the tool
necessary for the development of
advertising systems to take place.
Value Proposition
Consumer Relations
Consumer Segments
Tune In is FOR live streaming

media organizations WHO are
seeking innovative approaches
to advertising within the
growing industry of eSports
being broadcasted through live
streaming media.
In Person:
Interactive and cooperative
assistance. Relationships will
be developed through regular
contact and collaborative actions.
Software Engineers:
Software engineers will be the
main customer for this offering as
they will be developing the new
advertising systems first hand.
Online:
24/7 Q&A to reduce negative
touchpoints and barriers to
innovation.
Streamers:
The streamers are the providers
of entertainment regarding
live streaming media and may
very easily sway the opinion
of viewers. Their involvement
in the process is of the utmost
importance.
Tune In is a set of criteria

that was developed through
design thinking that serves as
a guide for creating these new
approaches to advertising.
IT DOES THIS BY engaging
viewers of live streaming media
with advertisements that are
developed with the same
entertainment value as the
stream itself while maintaining
a foundation of progressive
advertising tenets.
UNLIKE previous advertisement
systems that have been adapted
from previous and dated
platforms, Tune In provides the
potential to create innovative
platforms in live streaming media
advertising for eSports with the
opportunity for a higher degree
of impact and interaction from its
viewers.
Cost Structure
66
Viewers:
The viewers are the core
component that will be forced
into interaction with any new
Channels
Physical:
In person at the organizations that
develop live streaming content.
Virtual:
The researchers social media
outlets and personal website
will aid in providing 24/7 contact
and information for anyone who
wishes access.
Advertisers:
Advertisers will maintain their
position as the creators of content
for new advertising systems and
the buyers of time to fill and pay
for these new systems.
Revenue Streams
Website Maintenance:
Annual fees to web hosting
company.
Content Creation:
Creative materials and fees for the
Adobe Creative Suite.
Creative Facilitation Workshop:

Consulting fees valued at market
price.
Print Manufacturing:
Fees to printing agency for each
physical booklet.
Promotional Materials:
Fees regarding payment toward
Google Adwords for website
promotion.
Updated Content:
Additional content will only be
accessible after paying a set fee.
Printed Workbook Offerings:

Additional fees will be added to
the price of printing and shipping
the workbook to compensate for
time and effort spent on the part
of the researcher.
Mission Statement
Tune In is dedicated to the development of criteria through
design thinking that organizations will use to assist in enhancing
the impact of advertising systems within the market of live
streaming media for eSports.
Vision Statement
Tune Ins vision is to promote innovation within advertising
systems and platforms that create a more enjoyable experience
for the viewer, a more impactful message platform for the
advertiser, a greater degree of experience control for the
streamer, and a unique and effective competitive advantage for
live streaming organizations.
Value Statement
The researcher has maintained a particular set of values
throughout the creation of Tune Ins workbook research.
It is effectively ambiguous: Tune in was designed so that each
client may experience a creative process that will aid in the
development of a multitude of effective offerings.
It is collaborative: Tune Ins process was designed so that the
client may facilitate collaboration and participation from any user
that wishes to join and contribute.
It is updatable: Tune In was designed so the researcher may
upgrade the information within, which the client may purchase
and download to facilitate in the creation of advertising systems
using the latest trend and consumer insight information.
67
SWOT Analysis
Table 13
SWOT Analysis of Tune In
Strengths:
Opportunities:
The workbook is in a
digital space to which the
researcher may add content
Growing number of live

streaming organizations
Capability of repeatable
independent innovation
production by the client
Increased viewership for

eSports
Increasing interest by
advertisers outside of eSports
Universally accepted form of

instructional exercises
Digital media outlets outside

of the live stream community
68
Ease of manufacturing
Weaknesses:
Threats:
The process takes several

days
Design firms with larger

teams and greater resources
The process can be mentally

taxing
Changes in HTML and Java

coding
The process of development

has not been widely
accepted in the business
community
Future costs of
implementation
Current system acceptance
Product
The researcher has made the Tune In project workbook available
through digital and print formats and has a dual capability in how
it may be used. The first method, a book, is meant to be read from
start to finish and leaving the book intact while the client uses the
activties and instructions contained within. The second method,
cards, is meant for the client to use as a facilitation tool to add a
degree of chance to ease the burden of choice while aiding the
client in pushing the process forward to completion.
The researcher will offer workshop services separately as an
additional product if the client decidely needs professional
consultation and facilitation.
Place
Clients may download the Tune In booklet from the researchers
personal website and inquiries regarding a physical version may
be requested from the website as well. The initial copies will be
distributed digitally to live streaming organizations.
Price
The initial digital copy of the Tune In booklet will be distributed
free of cost to organizations that focus on live streaming content.
Request for physical copies will require only the cost to print
and ship the product. Any additional content to be uploaded
in the future will be downloadable for an additional fee that is
appropriate regarding current market prices.
Promotion
Promotion will consist of digital versions being distributed
to live streaming organizations through social media outlets,
organization websites, and personal emails. The researcher will
also display the project workbook and workshop offerings on his
personal website for potential clients.
The workshop service will be held at any location deemed

appropriate by the client.
69
Final Design to Market

Implementation Roadmap
Within the Final Design to Market

Implementation Roadmap the
researcher explored how the
product was placed into the
market and created a plan of
repeat entry that will run on a
cyclical process through phases
one to three.
Figure 45. Final design to market implementation roadmap. Authors image.

70
CONCLUSION AND
RECOMMENDATIONS
Figure 46. Conclusion and recommendations icon. Authors image.

71
Conclusion
The project began when the researcher found a problematic
area within a combination of his passions regarding eSports,
advertising, and live streaming media. The problem became clear
once the researcher was exposed to repeated interruptions by
the current advertising system during his viewing experience.
The researcher decided to champion the issue by creating a set
of criteria that may be used by any live streaming organization
to assist in the development of an innovative advertising system
for this new form of media. The criteria was created through the
aid of design thinking techniques involving an ethnographic lens
that gave way to the cultivation of insights from interviews and
observations with live streaming viewers, a professional streamer,
a UX advertising professional, and two professionals in strategic
planning for advertising.
Once the insights were known, the researcher applied the
insights to aid in the creation of several prototypes. The
prototypes were tested by a group of consumers and the
researcher then analyzed the strengths and weaknesses of
each prototype. The researcher then used the insights from the
testing of the prototypes to create the final design to market. The
final design to market was a workbook with an accompanying
facilitation workshop that would aid the client in the development
of a unique, competitive, and innovative advertising system for
live streaming media regarding eSports. The researcher will
expand on this offering through updated content within the
areas of market trends and consumer insights that will be made
available by purchase on the researchers website.
The researcher believes that if the process is followed diligently
and to its completion, the clients will create a new age of
advertising systems and usher in a new era of
business-to-consumer communication.
72
Recommendations
It is recommended that the organizations take advantage of the
information within this book to spark and inspire progress within
the halls of their business and within their consumer base as
well. Continue to seek updates to this information and be sure to
never rest on a single new concept for too long. Media has the
capability of being one of the strongest forms of social influence
and allowing such a powerful tool to remain autonomous from the
changes in consumer culture would be a travesty in itself.
Continue to seek out methods to apply the new systems you
created into other forms of media, such as on-demand and
traditional television. Lastly, when committing your organization
to this process be sure to be steadfast and maintain diligence
regarding the single most important aspect behind these efforts:
Do it for the user, not for the business.
REFERENCES
Figure 47. References icon. Authors image.

73
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discourse of business management and design principles when utilizing design thinking.
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understanding of concepts regarding the technical flow of information through live streaming media and its current limitations.
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evaluation criteria that were applied to prototypes and concepts found in this study.
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concepts in depth and moves on to defend them further with an update due to reader comments. This article assisted this study by aiding in the understanding of certain
pitfalls that need to be taken into consideration and opportunities to work with, instead of against, these negative issues.
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The author, Peter Dalsgaard, examined the utilization of pragmatism as a foundational quality for design thinking. Dalsgaard argued that pragmatism has the capability to
provide information and guidance in the development and execution of design projects. This article aided the study by assisting in understanding a practical base where
design is capable of being developed.
Dixon, W. W. (2013, May). Streaming: Movies, media, and instant access. Lexington, KY: University Press of Kentucky.
The author of this book, Dixon, discussed the history of streaming and where its heading in the future. Dixon believed that in the future everyone will be constantly streaming
due to our various and continuously updated mobile devices. This book aided the researcher in his understanding of live streaming media and its fundamental differences
from the on-demand media platform.
Euchner, J. (2012, May 1). Design thinking: An interview with Roger Martin. Research Technology Management, 55(3), 1014. doi:10.5437/08956308X5503003
Within this article, Jim Euchner interviewed renowned design thinker, Roger Martin. Roger is asked questions about the relationship between analytical thought and intuitive
thought and explained how these two schools come together to form the productive mix of design thinking. Wonderfully articulated insights into the understanding of design
thinking are revealed within this interview and aided the researcher in strengthening his own understanding of the field and how it was applied to this study.
74
Gardner, J. (2013, March 5). 5 huge digital marketing trends you cant afford to ignore. Mashable. Retrieved from http://mashable.com/2012/03/05/future-digital-marketingtrends.
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future. His predictions fell under the categories of location services, new ad formats, user-generated curation, integrated marketing, and advertising by format. This article
aided this study by assisting the researcher in the understanding of certain value considerations that were considered during the interview creation process.
Gobble, M. M. (2014, May 1). Design thinking. Research Technology Management, 57(3), 5962. doi:10.5437/08956308X5703005
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on this idea to say that it is flawed in a way due to its lack of human insight, which is a key component within design thinking. This information aided the study in the
application of practices of thought when considering the analyzing and synthesis of data.
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GO-Gulf portrayed a plethora of information based on online spending for advertisement within this infographic. The spending patterns were broken down into previous areas
of investment and future predictions for online ad spending. This was helpful to the study due to its insight into online ad spending that led to a stronger understanding of the
where and why regarding global online ad spending.
Heath, R. (2012). Seducing the subconscious: The psychology of emotional influence in advertising. West Sussex, UK: Wiley-Blackwell.
The author, Dr. Robert Heath, wrote this book as a historical overview of the psychology that stood behind advertising of the past and explored how it was evolving into
the future. Dr. Heaths dive into the modern psychology of internet banner ads, the examination of the brains interactions with advertising, and a breakdown of traditional
ad methods illuminated fascinating insights into how humans react to advertising. This book assisted every portion of this study by aiding the researchers understanding
regarding the psychology behind advertising methods.
Heaven, D. (2014, August 16). Rise and rise of esports. New Scientist, 223(2982), 17.

Within this article, Heaven explored some of the hype behind eSports and its current arenas for competition. Heaven also spoke on the current growth of the market and how
live-streaming media has created a new slew of celebrities within the sport. This was helpful to the study due to her insider view of the industry that aided in developing a
deeper understanding of eSports.
Kimbell, L. (2015, April 15). Rethinking design thinking: Part I. Design and Culture, 3(3), 285306. doi:10.2752/175470811X13071166525216
The author, Lucy Kimbell, argued that design thinking was misused and poorly mixed due to the attainment of the way of thinking by business schools and consultancies.
Kimbell examined signs that design thinking has failed and offered a clarification in design thinkings functionality so that the idea may carry forward. This article was useful to
this study as it aided in the development of new viewpoints on the future and functionality of design thinking.
Kurnit, R. (2015, February 25). Defining native advertising. Mondaq Business Briefing. Retrieved from www.mondaq.com.
Within this article, Kurnit covered native advertising and listed different examples, liability concerns, and best practices currently being used in the industry. This information
was useful to the study by aiding in the researchers understanding of what defines native advertising and how it was being used, so that the researcher was able to apply this
information to various segments of his process.
Lee, D., & Schoenstedt, L. J. (2011, October 1). Comparison of eSports to traditional sports consumption motives. ICHPER-SD, 6(2), 3944.
Within this study, Lee analyzed motivations and behavioral patterns for participants of eSports and its marketable values resulting from these motivations. This study assisted
the researcher by aiding in the highlighting of the three motivators behind eSport participation to be competition, peer pressure, and building a skill. Incorporating these
insights into the behavioral patterns of this emerging market assisted in developing interview questions for this study.
Levin, J., & Milgrom, P. (2010, May). Online advertising: Heterogeneity and conflation in market design. The American Economic Review, 100(2), 603607. doi:10.1257/
aer.100.2.603
The authors broke down some of the current advertising platforms that were found across the internet within this article. The authors portrayed potential flaws in the
advertising systems, especially in Googles cost per click platform, by illuminating their functionality and purpose for the consumer. This article assisted in the understanding of
current advertising platforms at the time of the study and provided information regarding the need within the future of advertising to create finer ad targeting methods.
75
LifeCourse Associatates. (2014, June 4). The new face of gamers. [Web log post]. Retrieved from http://blog.twitch.tv/wp-content/uploads/2014/06/TheNewFaceofGamers.pdf.
This report is a study created by LifeCourse Associates and was commissioned by Twitch.tv. LifeCourse Associates covered the characteristics and user groups within the
eSports community as of 2014 with this study. They also listed various statistics regarding new gamers, target user breakdowns of personality, and how gamers engage with
media. This report aided the researcher in the understanding of the base target market for this study as well as personality differentiators that needed to be considered when
developing the final solutions and interview questions.
Martinsuo, M., & Poskela, J. (2001, November 1). Use of evaluation criteria and innovation performance in the front end of innovation. The Journal of Product Innovation
Management, 28(6), 896914. doi:10.1111/j.1540-5885.2011.00844.x
The authors of this article, Martinsuo and Poskela, explored the usage of evaluation criteria in idea and concept development firms. Their results showed that firms using
evaluation criteria significantly assisted in the enhancement of competitive and business potential in the front end of innovation. This article assisted the study by increasing
the understanding regarding assessment models and criteria for those models.
Moses, L. (2013, October 21). The roadblocks of native advertising. Adweek, 54(37), 14.
The discussion within this article revolved around clients not taking full advantage of the native advertising arena. This was blamed mostly in part due to the red tape that
slows company decision making and using the right pieces to make these changes happen. This information assisted in understanding the inner working of companies when
considering new forms of advertising and the pitfalls new advertising platforms potentially face.
Norcini, J. J. (2011). Criteria for good assessment: Consensus statement and recommendation from the Ottawa 2010 conference. Medical Teacher, 33(3), 206214. doi:10.3109/01
42159X.2011.551559
Within this article the authors outline criteria for good assessment was examined and broken down into maintainable and repeatable steps. The author covered systemic
steps in the process of good assessment; such as, validity, reproduction, equivalence, feasibility, educational effect, catalytic effect, and acceptability. This article assisted the
study by aiding in the development of practice points, drafting, and the systemic construction of criteria for proper evaluation.
Smith, M. (2015). Targeted: How technology is revolutionizing advertising and the way companies reach consumers. New York, NY: AMACOM.
The author laid out all of the current processes being used in online advertising in the business-to-business atmosphere. Major areas of advertising sales were discussed such
as Search Engine Marketing, Googles advertising abilities, and real-time bidding. The book assisted this study by aiding in the understanding of the next steps to be taken by
the advertising industry by laying out future potential strategies.
Taylor, T.L. (2012). Raising the stakes: E-sports and the professionalization of computer gaming. Cambridge, MA: MIT Press.
This book was one of the main sources of information in print regarding the eSports community and its stakeholders. The author covered valuable material such as different
venues and media outlets within the eSports arena as well as information regarding the business behind the scenes. This book was a strong resource for this study as it aided
in understanding the current viewership and fandom regarding the industry.
Twitch Interactive, Inc. (2014). 2014 Retrospective. Retrieved from http://www.twitch.tv/year/2014.
Within this retrospective, Twitch Interactive, Inc. covered several different aspects of the online streaming and eSports industries. Twitch showed their expansion into new
media playing devices, ways to broadcast, merchandising options, and live concert and music streaming abilities. Twitch also listed minutes watcher per month, video
broadcast per month, unique viewers per month, partnered channels, unique broadcast per month, and a peak of concurrent viewers for the year. This report assisted in
understanding the significance and selling effect of this emerging platform between the intersection of eSports and live streaming media.
Ware, C. (2008). Visual thinking: For design. Burlington, MA: Morgan Kaufmann.
The author, Colin Ware, discussed the psychological and physiological aspects that take place when humans view design. Wares explanation of color, pattern expansion, and
spatial consideration are easy to grasp and apply when developing new designs. This book was pivitol in aiding the researcher in understanding design concepts that were
applied to this study so that the criteria offerings were considered aesthetically pleasing when viewed by the human eye.
76
List of Figures
Figure 1. TV icon........................................................................................................................ 0
Figure 2. Observation collage photo...................................................................................3
Figure 3. Introduction icon..................................................................................................... 3
Figure 4. Project framing icon............................................................................................... 7
Figure 5. Project positioning icon.........................................................................................12
Figure 6. 2x2 analysis of the research space for viewer/streamer interaction.......22
Figure 7. 2x2 analysis of the research space for ad space...........................................23
Figure 8. 2x2 analysis of the research space for customization.................................24
Figure 9. Research activities icon........................................................................................ 29
Figure 10. Map of the studys research space...................................................................30
Figure 11. Consent form part one.......................................................................................... 33
Figure 12. Consent form part two......................................................................................... 33
Figure 13. Advertiser interview form.................................................................................... 33
Figure 14. Streamer interview form...................................................................................... 33
Figure 15. Viewer interview form.......................................................................................... 33
Figure 16. Observation research form.................................................................................33
Figure 17. Final synthesis working wall............................................................................... 36
Figure 18. Picture of Novice Enthusiast watching Twitch.tv...........................................38
Figure 19. Picture of Veteran Enthusiast watching Twitch.tv......................................... 38
Figure 20. Semantic profile of observation synthesis.....................................................38
Figure 21. Stephen Rivera. Picture representing Persona One. 2013 Rivera.......39
Figure 22. Semantic profile for Persona One................................................................... 39
Figure 23: Garon Muller. Picture representing Persona Two. 2015 Muller........... 40
Figure 24. Semantic profile for Persona Two....................................................................40
Figure 25. Picture of Hannah Foerster representing Persona Three.........................41
Figure 26. Semantic profile for Persona Three.................................................................41
Figure 27. Research findings at a glance map................................................................. 43
Figure 28. Design opportunities and criteria, reframing icon.......................................44
Figure 29. Opportunity for design map.............................................................................. 46
Figure 30. Prototype development and testing icon...................................................... 49
Figure 31. Innovation Insight Glasses concept sketch....................................................51
Figure 32. Writing the Future of History Book concept sketch.....................................52
Figure 33. Level Up RPG concept sketch...........................................................................53
Figure 34. Cards of Creation concept sketch....................................................................54
Figure 35. Tune In the Board Game concept sketch...................................................... 55
Figure 36. Participants testing Innovation Insight Glasses concept...........................56
Figure 37. Participants testing Level Up RPG concept....................................................58
Figure 38. Participants testing Cards of Creation concept........................................... 59
Figure 39. Participants testing the Final Prototype..........................................................61
Figure 40. Final deliverable icon.......................................................................................... 62
Figures 41. Workbook icon..................................................................................................... 63
Figure 42. Workshop icon...................................................................................................... 63
Figure 43. Workshop icon.......................................................................................................63
Figure 44. Final offering project workbook icons............................................................ 65
Figure 45. Final design to market implementation roadmap....................................... 70
Figure 46. Conclusion and recommendations icon........................................................ 71

Figure 47. References icon..................................................................................................... 73
Figure A1. Timeline of the first five weeks..........................................................................81
Figure A2. Timeline for the second five weeks................................................................ 82
Figure B1. Signed consent form of Alex Soloman............................................................ 84
Figure B2. Signed consent form of Dave Nicolson..........................................................84
Figure B3. Signed consent form of Ryan Thacker............................................................84
Figure B4. Signed consent form of Katie Swindler...........................................................84
Figure B5. Signed consent form of Justin Davis...............................................................84
Figure B6. Signed consent form of James Ambler...........................................................84
Figure B7. Signed consent form of James Strickland......................................................84
Figure B8. Signed consent form of Pat Blume.................................................................. 84
Figure B9. Signed consent form of Hannah Foerster......................................................84
Figure B10. Signed consent form of Maarten Bruinsma..................................................84
Figure B11. Signed consent form of Kyle Foerster.............................................................84
Figure B12. Signed consent form of Brian Hinkle.............................................................84
Figure C1. Consent form one................................................................................................. 86
Figure C2. Consent form two.................................................................................................86
Figure C3. Advertiser interview form...................................................................................87
Figure C4. Streamer interview form..................................................................................... 87
Figure C5. Viewer interview form.........................................................................................88
Figure C6. Observation research form............................................................................... 88
Figure D1. Alex S. Interview Transcription...........................................................................90
Figure D2. Brian H. Interview Transcription........................................................................90
Figure D3. Dave N. Interview Transcription........................................................................91
Figure D4. James A. Interview Transcription......................................................................91
Figure D5. James S. Interview Transcription......................................................................92
Figure D6. Justin D. Interview Transcription.......................................................................92
Figure D7. Katie S. Interview Transcription.........................................................................93
Figure D8. Kyle F. Interview Transcription.......................................................................... 93
Figure D9. Maarten B. Interview Transcription..................................................................94
Figure D10. Ryan T. Interview Transcription........................................................................94
Figure D11. Pat B. Observation Transcription..................................................................... 95
Figure D12. Hannah F. Observation Transcription............................................................95
Figure E1. Tune In cover page............................................................................................... 97
Figure E2. Tune In icon page................................................................................................. 98
Figure E3. Tune In introduction............................................................................................. 99
Figure E4. Tune In section one page................................................................................... 100
Figure E5. Tune In section one description page............................................................ 101
Figure E6. Tune In opportunity icon page.......................................................................... 102
Figure E7. Tune In opportunity cards page........................................................................ 103
Figure E8. Tune In opportunity card back page............................................................... 104
Figure E9. Tune In section two icon page.......................................................................... 105
Figure E10. Tune In inspiration description page............................................................. 106
Figure E11. Tune In inspiration cards page......................................................................... 107
77
List of Figures
Figure E12. Tune In inspiration card back page................................................................ 108
Figure E13. Tune In brainstorm icon page.......................................................................... 109
Figure E14. Tune In brainstorm description page............................................................. 110
Figure E15. Tune In brainstorm follow up page.................................................................111
Figure E16. Tune In brainstorm icon page.......................................................................... 112
Figure E17. Tune In brainstorm cards page........................................................................ 113
Figure E18. Tune In brainstorm cards back page............................................................. 114
Figure E19. Tune In initial concept icon page.................................................................... 115
Figure E20. Tune In initial concept description page......................................................116
Figure E21. Tune In initial concept cards page..................................................................117
Figure E22. Tune In initial concept cards back page...................................................... 118
Figure E23. Tune In progress tracker icon page.............................................................. 119
Figure E24. Tune In progress tracker description............................................................ 120
Figure E25. Tune In progress tracker role descriptions................................................. 121
Figure E26. Tune In progress tracker icon......................................................................... 122
Figure E27. Tune In progress tracker fold out front page.............................................. 123
Figure E28. Tune In progress tracker fold out back page............................................. 124
Figure E29. Tune In criteria icon page................................................................................ 125
Figure E30. Tune In criteria description page................................................................... 126
Figure E31. Tune In criteria cards page............................................................................... 127
Figure E32. Tune In criteria cards back page....................................................................128
Figure E33. Tune In criteria form one and two page....................................................... 129
Figure E34. Tune In criteria form three and four page....................................................130
Figure E35. Tune In criteria form five and six page......................................................... 131
Figure E36. Tune In criteria form seven and eight page................................................ 132
Figure E37. Tune In criteria form nine and final page...................................................... 133
Figure E38. Tune In congratulations page......................................................................... 134
Figure E1. Working wall week 2............................................................................................ 136
Figure E2. Working wall week 3........................................................................................... 136
Figure E3. Working wall week 4........................................................................................... 136
Figure E4. Working wall week 5............................................................................................136
78
List of Tables
Table 1
Collaborator analysis chart for Twitch................................................................................ 14
Table 2
Collaborator analysis chart for HitBox................................................................................15
Table 3
Collaborator analysis chart for YouTube............................................................................ 15
Table 4
Collaborator analysis chart for D!ng It................................................................................ 16
Table 5
Collaborator analysis chart for LiveStream....................................................................... 17
Table 6
Collaborator analysis chart for Ustream............................................................................ 18
Table 7
Collaborator analysis chart for Major League Gaming..................................................19
Table 8
Collaborator analysis chart for Cutting Edge................................................................... 20
Table 9
Collaborator analysis chart for ViaGame...........................................................................20
Table 10
Collaborator analysis chart for GFINITY.............................................................................21
Table 11
Research question matrix.......................................................................................................32
Table 12
Business Model Canvas for Tune In.................................................................................... 66
Table 13
SWOT Analysis of Tune In...................................................................................................... 68
79
A
APPENDIX A:
TIMELINE
80
Sept 15-21
Sept 22-28
WEEK 1
T
Section 1
Framing the Project

Working Wall Updates
Final Project Proposal
Primary Research Documents
Progress Check-In
Submission
Section 2
Conducting Primary Research

Conducting Interviews
Conducting Observations
Updating Research Documents
Progress Check-In
Submission
Section 3
Market Analysis
Collaborator Analysis
Finding Your ZAG
Value Proposition
Complete Primary Research
Progress Check-In
Submission
Section 4
Synthesis
Finalize Research
Affintizing
Persona Development
Progress Check-In
Submission
Section 5
Midterm Process Book

Process Book
Initial Concept Exploration
Progress Check-In
Submission
Sept 29-Oct 5
WEEK 2
S
Oct 6-12
WEEK 3
S
Oct 13-19
WEEK 4
S
WEEK 5
S
Figure A1. Timeline for the first five weeks. Authors image.
81
Section 6
Exploration and Prototyping

Concept Development
Concept Testing
Progress Check-In
Submission
Section 7
Assesment and Validation

Refining and Assessing
Filling Gaps
Progress Check-In
Submission
Section 8
Refining the Prototype

Finalize Prototype
Progress Check-In
Submission
Section 9
Business Planning
Business Model Canvas
Implementation Plan
Progress Check-In
Submission
Section 10
Final Process Book and Poster

Finalize Process Book
Progress Check-In
Submission
Oct 20-26
Oct 27-Nov 2
Nov 3-9
Nov 10-16
Nov 17-19
WEEK 6
WEEK 7
WEEK 8
WEEK 9
WEEK 10
Figure A2. Timeline for the second five weeks. Authors image.
82
APPENDIX B:
SIGNED CONSENT FORMS
83
Consent Forms
Figures B1-12. Signed consent forms. Authors image.

84
C
APPENDIX C:
PROTOCOLS
85
Consent Form One
Consent Form Two
Tune In: Criteria for effective livestream advertising.
The following information provides an introduction to field research that will be conducted in Savannah, GA
between September 14, 2015 to November 19, 2015 by Todd Hinkle, Design Management graduate
student at the Savannah College of Art and Design.
I voluntarily agree to participate in an interview/inquiry performed by students at the

Savannah College of Art and Design. I understand that this interview/inquiry is being
RESEARCHER BIO:
Todd Hinkle is a Design Management M.A. candidate at the Savannah College of Art and Design. His
professional background consist of military training for infantry tactics and leadership, a B.A. in marketing,
sales experience, and interning as a strategic planner at Foote, Cone, and Beldings Chicago office.
PURPOSE OF THE STUDY

The purpose of this study was to apply design thinking to understand and develop criteria for more
effective advertising platforms based on human-centered design in online advertising within the realm of
live streaming media for eSports. Reaching a better understanding of this interaction ultimately can lead
to further exploring the development and creation of empathetic advertising systems
RESEARCH QUESTION(S)
Our research will be guided by the following question(s):
Todd Hinkle
conducted by _______________________________,
in order to identify
opportunities for design.
I understand that the evaluation methods which may involve me include:
1. the recorded (audio and/or video) observations of my work

2. my completion of an evaluation questionnaire(s) and/or
3. my participation in a 30-90 minute interview.
How might a set of criteria, derived from design thinking, be useful for creating effective advertising in live
streaming media for eSports?
I grant permission for the interview/inquiry to be recorded and transcribed, and to
Todd Hinkle
be used only by _______________________________for
analysis of interview data.
DATA COLLECTION METHODOLOGY

Data will be collected through:
Surveys, interviews, and observations.
I grant permission for the evaluation data generated from the above methods to be
used in an educational setting.
DATA MANAGEMENT
Data will be anonymized through participants request or researchers decision.
Data will be stored via:
Digital audio recording devices, digital and physical written notes, photographs, and video.
All data will be represented and stay in circulation in the form of a final process book.
CONTACT INFORMATION
This project is being conducted through the Design Management department at the Savannah College of
Art and Design. For additional information please contact Regina Rowland at rrowland@scad.edu.
I understand that any identifiable information in regard to my name and/or company

name will be removed from any material that is made available to those not
directly involved in this study.
_______________________________________
Research Participant Name and Signature
Project Design Manager:

Todd Hinkle, thinkl20@student.scad.edu, (706)-840-1297.
_______________________________________
Date
Printed 11/14/2015
Figure C1. Consent form one. Authors image.
86
Figure C2. Consent form two. Authors image.
Advertiser Interview Form
Streamer Interview Form

Live Stream Professional Interview Form
Professional Advertiser Interview Form

Interviewee Name:
Interviewee Age:
Occupation:
Date:
Sex:
Time:
Interviewee Name:
Occupation:
Interviewee Age:
Date:
Sex:
Time:
1. Tell me about your job and what it is that you do?

1. How do you define advertising?
2. Tell me about the current advertising platforms in live streaming media

from your point of view as a streamer?
2. What do you think are advertisings core values?
3. Do you have a consistent viewer base?
3.What do you think the goals of advertising are?
4. Why do you think they continue to visit your stream?

5. Do you interact with your users?
4. Do you think there is a difference between online advertising and other types of advertising?
5. Is there something special about online advertising?
6. What do you think consumers are looking for when they see advertisements?
7. How might consumers see advertising as negative?
8. Do you use certain methods to construct your advertisements?
9. Have you noticed any advertisement methods or platforms that have been effective previously?
10. Have you noticed any interesting advertising methods that have emerged recently?
11. How do you picture the future of advertising?
6. If yes, how?
7. Are there events, offerings, or special occasions that you feel work in
drawing in new viewers?
8. Have you noticed events, offerings, or special occassions that spur
viewers to interact more in the chat channels?
9. Have you noticed any interactions that other streamers have done that
have improved their user base?
10. Tell me about when you had the most viewers visit your stream and
describe what you were doing at that time?
11. Have you ever noticed anything that has caused a negative reaction
from your users?
12. Whats your vision of the future of live streaming media?
Figure C3. Advertiser interview form. Authors image.
Figure C4. Streamer interview form. Authors image.
87
Viewer Interview Form
Observation Research Form

Observation Form

Live Stream Viewer Interview Form
Interviewee Name:
Interviewee Age:
Occupation:
Date:
Sex:
Time:
Location:
Time:
Date:
1. What websites or services do you typically use when you want to watch live streaming media?
2. How often do you visit live streaming websites?

3. Walk me through what you do when you visit live streaming websites?
4. Do you use live streaming websites as a primary or secondary form of entertainment?
5. Do you multi-task when you watch the streams?
6. What drives you to use that form of entertainment?
Observations:
7. What level of interaction do you seek when you visit these websites?
8. Have you had any memorable experience on a live streaming website so far?
10. Have you had any negative experiences? What happened and what was that like?
12. What would you like to see in the future of live streaming entertainment?
Figure C3. Viewer interview form. Authors image.
88
Figure C4. Observation research form. Authors image.
D
APPENDIX D:
TRANSCRIPTIONS
89
Alex S. Transcript
Figure D1. Alex S. Interview Transcription. Authors image.
Brian H. Transcript
Figure D2. Brian H. Interview Transcription. Authors image.
90
Dave N. Transcript
Figure D3. Dave N. Interview Transcription. Authors image.
James A. Streamer Transcript
Figure D4. James A. Interview Transcription. Authors image.
91
James S. Viewer Transcript
Figure D5. James S. Interview Transcription. Authors image.
Justin D. Transcript
Figure D6. Justin D. Interview Transcription. Authors image.
92
Katie S. Transcript
Figure D7. Katie S. Interview Transcription. Authors image.
Kyle F. Transcript
Figure D8. Kyle F. Interview Transcription. Authors image.
93
Maarten B. Transcript
Figure D9. Maarten B. Interview Transcription. Authors image.
Ryan T. Transcript
Figure D10. Ryan T. Interview Transcription. Authors image.
94
Pat Observation Transcript

Observation Form
Location: Living room, Savannah GA
Observations:
Head movement showed that he may have been reading chat while switching back to watching the
stream repeatedly.
Focused on the stream for around 3 minutes and his girlfriend came into the room and turned on the TV.
Time: 2:15pm
Date: 4 October, 2015
Viewer turned down the volume on the laptop.
Viewer watched the TV and would look down to the laptop every 10-20 seconds as sound increased on
the laptop.
Viewer watched the last 2 minutes of a hand of Hearthstone without break.
The game finished and the viewer clicked back and selected a new game, Destiny (number 8 on the list).
Viewer scrolled down and briefly read about the streamer and quickly scrolled back up.
Viewer looked over to chat and read for roughly 10 seconds before looking at the TV and then returning
attention to the stream.
Viewer watched the stream run in a circle with their online character several times then hit back and
selected the third streamer on the list.
Scrolled down boxes describing the viewer and scrolled back up.
Observations:
Viewer selected browse and began to slide through games.
Chose a game close to the top. (Hearthstone)
Scrolled down briefly and returned to the top and chose the 4th largest stream.
The picture to select the stream had 2 men at the bottom right with the game interface taking up the
majority of the screen.
An advertisement took up the entirety of the screen and the viewer looked at it briefly and moved the
mouse cursor over to the chat box and began to read until the advertisement finished.
Viewer said something about the stream being in French and clicked to go back to the browse page.
Selected the top stream for the Hearthstone game.
Scrolled down to the information section and read about the streamer.
Scrolled back up and began to watch.
Viewer watched the TV for around 25 seconds and then looked back down to watch the stream for a little
over 2 minutes.
Alternated between watching the TV and the stream for around 5 minutes.
Clicked back and scrolled quickly through the games and chose The Witcher III.
Chose the first streamer in line that had English in the title.
Scrolled down to the user bio and quickly scrolled back up.
Left the stream running while alternating attention from TV to the laptop, sometimes looking over to the
chat.
This continued for around 8 minutes before the viewer closed the tab, closed the laptop, and said he was
going to check it out later tonight if he had the chance.
Figure D11. Pat B. Observation Transcription. Authors image.
Hannah Observation Transcript

Observation Form
Location: Bedroom. Savannah, GA
Time: 3:15pm
Date: 1 October, 2015
Observations:
Viewer leaned forward and clapsed her hands together in front of her face as she read the chat.
Viewer scrolled down and read about the stream for a brief moment.
Viewer opened up a different IE and typed in the name of the woman who was just being shown in the stream.
She listened to the stream while reading the wiki page of the female from the stream.
A new speaker came on the stream, an elderly male.
Viewer leaned back in her chair and started to watch the actual stream again, which continued for 5 minutes. She
read the chat for a minute and shook her head.
Viewer clicked back and browsed for games and chose Super Mario Maker.
Viewer selected a game with 3k viewers, not the top of the list.
When the advertisement came on she began to check her phone.
When she heard the voice of the streamer she looked back up and leaned to the left, resting her chin in her hand
and started watching.
Viewer put her phone down and turned slightly and watched the stream.
The streamer failed three times in a row and the viewer said unacceptable Patrick Clipek and continued to
watch.
Observations:
Viewer laughed and read some of the lines from chat. [laughs] why is he even doing that. Patrick is having an
existential crisis. Why did you even throw it.
Viewer went to the home page and watched a video on the homepage for around 5 minutes.
Viewer yawned and rocked her chair while watching the screen.
Viewer watched the advertisement and said it was weird out loud.
Viewer said come on Patrick and said doo ittt. Doo itttt. Come on Patrick come on. as he approached the end
of a level.
Viewer leaned back in the chair and moved her eyes from the chat channel and back to the screen she was
watching.
The video she is watching is about female inequality in the gaming industry.
Viewer folds her arms and exhales heavily.
Viewer leaned forward and started to read the chat for several moments.
The streamer died and she cringed and squeezed her fist and said that was really bad Theyre keeping count
of his deaths if he dies 4 more times then Im done.
He failed and she turned her head and squeezed her fist.
He failed and she pursed her lips and swiveled in the chair slightly.
He failed to more times and she sat still watching as he restarted.
Viewer said who is this chick? theres 1.6 million people watching this.
Viewer typed a question into the chat stream.
He failed and said he was done streaming for the day. Viewer clicked her nails against the desk .
Viewer said God, people are awful and oh my God out loud.
Viewer turned her chair and read the chat while the streamer spoke and gave details about what he would be
doing over the next few hours.
Viewer said This is making me sick
Viewer clicked and exited out of the website.
Figure D12. Hannah F. Observation Transcription. Authors image.
95
APPENDIX E:
FINAL DESIGN TO MARKET
96
Figure E1. Tune In cover page. Authors image.
97
98
Figure E2. Tune In icon page. Authors image.
Figure E3. Tune In introduction. Authors image.
99
100
Figure E4. Tune In section one page. Authors image.
Figure E5. Tune In section one description page. Authors image.
101
102
Figure E6. Tune In opportunity icon page. Authors image.
Figure E7. Tune In opportunity cards page. Authors image.
103
104
Figure E8. Tune In opportunity card back page. Authors image.
Figure E9. Tune In section two icon page. Authors image.
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Figure E10. Tune In inspiration description page. Authors image.
Figure E11. Tune In inspiration cards page. Authors image.
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Figure E12. Tune In inspiration card back page. Authors image.
Figure E13. Tune In brainstorm icon page. Authors image.
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Figure E14. Tune In brainstorm description page. Authors image.
Figure E15. Tune In brainstorm follow up page. Authors image.
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Figure E16. Tune In brainstorm icon page. Authors image.
Figure E17. Tune In brainstorm cards page. Authors image.
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Figure E18. Tune In brainstorm cards back page. Authors image.
SECTION 4:
INITIAL CONCEPT
Figure E19. Tune In initial concept icon page. Authors image.
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SECTION 4:
INITIAL CONCEPT
How do you use this section?

Write down your initial concept on one of the blank cards on the following page.
Your group can either tear out the card for reference of leave it within the book
as part of your log.
The remaining blank spaces will be used when the group decides to repeat the
entirety of the process within this book.
116
Figure E20. Tune In initial concept description page. Authors image.
Figure E21. Tune In initial concept cards page. Authors image.
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Figure E22. Tune In initial concept cards back page. Authors image.
SECTION 5:
PROGRESS TRACKER
Figure E23. Tune In progress tracker icon page. Authors image.
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Figure E24. Tune In progress tracker description. Authors image.
Figure E25. Tune In progress tracker role descriptions. Authors image.
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Figure E26. Tune In progress tracker icon. Authors image.
Figure E27. Tune In progress tracker fold out front page. Authors image.
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Figure E28. Tune In progress tracker fold out back page. Authors image.
Figure E29. Tune In criteria icon page. Authors image.
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Figure E30. Tune In criteria description page. Authors image.
Figure E31. Tune In criteria cards page. Authors image.
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Figure E32. Tune In criteria cards back page. Authors image.
Figure E33. Tune In criteria form one and two page. Authors image.
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130
Figure E34. Tune In criteria form three and four page. Authors image.
Figure E35. Tune In criteria form five and six page. Authors image.
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Figure E36. Tune In criteria form seven and eight page. Authors image.
Figure E37. Tune In criteria form nine and final page. Authors image.
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Figure E38. Tune In congratulations page. Authors image.
F
APPENDIX F:
WORKING WALL
135
Working Wall
Week 2
Week 3
Week 5
Week 4
Figure E1-4. Working wall photos. Authors image.

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137
TUNE IN
Todd Hinkle
706.840.1297
todd.hinkle@hotmail.com
toddhinkle.com
138

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TUNE IN.

Criteria for effective live stream advertising.

Prepared by Todd Hinkle

Figure 1. TV icon. Authors image.

Design Management Definition

Figure 2. Observation collage photo. Authors image.

PROTOTYPE DEVELOPMENT AND

Figure 4. Project framing icon. Authors image.

Figure 5. Project positioning icon. Authors image.

Providing a platform for live streaming

Entrepreneurs, Entertainers, Instructors,

A multitude of games are available that

Providing a gathering point for amateur and

Online presence, events, conventions.

Largest amount of streamers and channels.

Collaborator Analysis Chart: HitBox

Collaborator Analysis Chart: YouTube

Hitbox.tv is an organization that provides live streaming media

YouTube is an organization that is globally renowned for

Hitbox is looking to take on the major live

Providing a platform for live streaming

Entrepreneurs, Entertainers, Instructors,

Simplistic and direct layout, on-demand

Easy to understand iconography, on-demand

Providing deeper interaction than

Using an already stable system of video

Online presence only.

Online presence, events, conventions.

Various interactive offerings within their chat

Video storage of recently streamed events.

Collaborator Analysis Chart: D!ng It (Beta)

Providing a platform that has fewer delays

Entrepreneurs, Entertainers, Instructors,

Offering cash per viewer and unique

Providing a one-stop shop for eSports

Online presence only.

Average view delay of four seconds.

Providing a website where their clients are

Charging for streaming

Creating an up-to-date and easy to set up

Online presence only.

Rewinding of live streaming media as it takes

Collaborator Analysis Chart: Ustream

Allow businesses and societies to maintain

Creating offerings for broadcasters, teams,

Offering a completely customizable

Online presence only.

Completely customizable pages.

An organization dedicated to the expansion,

Professional eSports Gamers, Enthusiast.

A channel selection tool that is within the

Using a well-known eSports tournament

Online presence, eSports events and tournaments.

Dedicated eSport professionals that may

Collaborator Analysis Chart: Cutting Edge

Collaborator Analysis Chart: ViaGame

Cutting Edge is an organization that host and manages live

ViaGame is an organization that provides eSports information in

Provide viewers with the option of watching

Providing in-depth interviews with eSport

eSport viewers, eSport teams, eSport event

eSport enthusiast, eSport tournament host.

Playing a single sponsored video to cut back

Simplistic and holistic layout for live

Consulting eSports teams on design and

The simplistic design allows for less clutter

Online presence only.