FMP proposal

FMP

DESIGNING A BETTER MUSIC SHARING EXPERIENCE FOR SPOTIFY SUBSCRIBERS

*This is a speculative project and I am not affiliated with Spotify.

Author: Zhujun Pang z.pang@student.tue.nl

Date: 12 January 2023

Coach: Joep Frens j.w.frens@tue.nl

Second assessor: Steven Houben s.houben@tue.nl

In Eindhoven University of Technology

PROFESSIONAL IDENTITY

I position myself as a self-motivated person. On the one hand, I don't mind spending a lot of time and energy exploring what I really want to do with design, but once I find a direction, I give it 100% of my energy and focus on it; on the other hand, I have the constant self-drive to constantly improve myself to cope with potential or existing issues, whether in a comfortable or challenging environment.

As a product designer, I prefer to focus on the creative phase of the product design process and the process of styling. My undergraduate and graduate education in the industrial design department has provided me with the basic skills and design thinking to be a designer. To explore how to apply this knowledge in practice and to find my career niche, I undertook internships as a UX designer, product designer, and 3D visualization designer and eventually discovered my special passion and strength for creative iteration and styling of products. I am good at contributing creative ideas because I can quickly find the subtle connections between things and think outside the box. I also enjoy admiring and collecting high-quality design and keeping up to date with new design developments. My daily accumulation of good design has helped me develop a good aesthetic sense. Combined with my love of drawing, my stylistic skills are my greatest strength as a

designer.

As a designer, I am keen to learn and practice different techniques, for instance, sketching, 3D modeling and rendering software, photography, and video editing. Very often I learn these things not to solve a current need, but out of self-motivation. Because I think these skills will provide me with more alternative solutions and take advantage of more opportunities when crises and challenges come. My proficiency in these skills makes me be a good creator and producer in teamwork. Although I do not aspire to be a technical expert, such as a modeler or a renderer, knowing and mastering a wide range of skills will help me to better express my design ideas and to collaborate with structural designers and colleagues in other departments during the design process. For example, my photographic skills and rendering techniques have often helped to make the team's work more visually appealing, and my modeling expertise has enabled me to act as a bridge between the design and structural departments during my previous internships.

In particular, part of these skills has now developed into my hobbies. I use them in my work to present design concepts in a most impressive way, but I also use them in my daily life as a way to record or to express some whimsical ideas.

02 DESIGN VISION

One year ago, my goal as a product designer is to:

Enhance user experience through interesting forms of physical interaction design, so as to build a stronger connection between user, product and the surrounding system.

The rapid progress of digital revolution brings the trend of dematerialization. It is used to describe the trend towards the replacement of more and more physical products with electronic information[9]. In this process, information and knowledge can flow more freely because they break through physical and spatial barriers. More and more electronic and intelligent products allow people to live efficiently, but sometimes it also speeds up the pace of life and makes them lose sight of the more experiential parts. While I was reflecting on the flaws of over intelligence and the trend of dematerialization, it has been a renaissance in the market for physical interactive products in rencent years[10]. Even though the series of actions that people go through when using traditional products are less efficient than with smart products, but people still prefer those retro things. The main reason is that the experience of this tangible interaction enhances the connection between the person and the product . Thus, I want to investigate as much as possible the relationship between the user and the product and the surrounding system, and by exploring different kinds of physical interaction, I want to design products with a warmth that enhances the connection between people and products. However, through the M2.1 project, I have been able to look deeper into both dematerialization and the physical world. This process helped me discover the advantages of combining electronic technology with physical features. The physical interaction provides a richer and

more immersive experience for the user, while the streaming platform provides an easy and efficient way to access a large number of resources. In addition to this, I have also seen how Philips is using the IoT system to enhance the experience of their smart home products during my internship this semester. With Philips Smart Home, all smart domestic appliances can be managed and provide users with information on the dryness of the air, humidity, etc. in the smart home environment. But at the same time, they have not given up on physical interaction, and each product has gone through a rich iteration of physical buttons and product styling before being launched. From the user’s point of view, the physical form of interaction enhances their user experience, and the services offered by the IoT allow them to gain more awareness of their products and surroundings; from the company’s point of view, the involvement of IoT systems can also enhance the brand effect for promotion and brand relevance between products.

So in my future design direction, I hope to focus on how to solve problems through design in order to provide a better experience for users, and even create new products or systems that serve their higher needs and values. By providing people with products that are rich experience, I still want to use my design to strengthen the bond between people, products, and the surrounding system. In this process, I will no longer be constrained by the specific form of the product. The choice of the specific design form of the solution, whether it is a physical product, an electronic product, or a combination of the physical and electronic worlds, depends on the perspectives of multiple stakeholders, such as the user’s needs and the available business and technical resources.

THE MOTIVATION OF FMP PROJECT

In my second year of master's study, I chose to explore the direction of physical product design and interaction along the lines of my design vision (described in this section), with a focus on the topic of music sharing experience. In the Preparation for FMP project and the coming FMP project, I focused on the values and needs associated with music sharing experience and related social activities in the age of streaming media, by designing physical interactive products that integrate with streaming platforms and attempting to address the technical and behavioral barriers that people currently encounter when sharing and communicating music. From a PI and competence development perspective, I chose to put more efforts into the Creativity & Aesthetics and Business & Entrepreneurship areas of the FMP in order to better reflect my skills as a professional product designer. I have already invested in the expertise of the User & society, and Technology & realization in the Preparation for FMP project, and have gained constructive insights for the next design iteration by conducting in-depth desktop

research and user test of the Music Linker. In FMP, I will be exploring the business model and iterating on the design aesthetic of Music Linker to refine my professional designer's portrait.

To achieve this, I I will assume Spotify is my client and design for it. I plan to use the streaming music giant Spotify as a commercial vehicle to explore how the design insights from M2.1 could be used to design a music sharing service system for Spotify that helps users share music. Designing for an existing brand will allow me to explore the practical and commercial aspects of a product in a more immersive way, thus better demonstrating my skills as a product designer. At the same time, it will also help me to develop my skills in analysing brand value and brand design language, which will prepare me to design for companies and clients as a professional product designer after graduation.

The total duration of this project will be from February 2023 until July 2023.

*This is a speculative project and I am not affiliated with Spotify.

04

DESIGN SPACE

As mentioned in the Introduction and Related Works section of the design report that precedes this file, sharing music can help people communicate and even build deep emotional connections across language and cultural barriers [1]. Especially with COVID-19 sweeping the world in recent years, music-related social activities can help people communicate and convey emotions across spatial barriers, bringing healing power[7]. At the same time, the growing market for streaming music with the development of the electronic revolution has also contributed to the spread of music-related social activities. A large streaming music subscriber base implies a more diverse demand for information services and complex behavioural patterns [19]. There is a wealth of research on the technical and permission-based aspects of music sharing available on the web, and many researchers have explored the impact of interface design on user behaviour and psychology during the sharing process [17]. However, there is little research on the music sharing experience.

The M2.1 project focused mainly on the research level. The design aims of this phase were to improving users' music sharing experience by creating physical forms of music sharing interactions. Then, I conducted user test to see how well users understood, accepted and expected the new music sharing product design in terms of appearance and interaction logic. As a result, I designed the Music Linker artifact as the inicial iteration of the design. As a physical design to help people share and

DESIGN CHALLENGE

receive music information, Music Linker's interactive form and shape incorporate a number of thematically relevant retro physical product features in an attempt to provide a richer and more interesting user experience and to inspire people to share music more often. Through user test and semi-structured interviews (n=8), Music Linker received much feedback and helped to derive design insights in three directions:

1) It helped to reveal the importance of how information is presented in the process of sharing music information;

2) Music Linker showed us the potential of combining physical interaction features with the benefits of streaming in the age of dematerialization;3) Music Linker captures user-initiated needs and expectations for feedback mechanisms through the white space left at the feedback function. Although Music Linker has helped me gain a great deal of insight as a completed artifact, there are many gaps in its design and commercial aspects that need to be addressed to meet the standards of a mature product.

The next phase of this design theme (FMP) is therefore focused on exploring how it can be applied in a real-world market context and exploring its potential commercial value. I will assume Spotify as the project's streaming platform supporter and design a Music Linker 2.0 music sharing service system for them, including an interactive physical product, an app-based corresponding music sharing interface, and an integrated Business Model Canvas. The physical product will also be redesigned.

The core design challenges of the Music Linker 2.0 music sharing service system is: How can Spotify provide people with a more user-friendly experience while sharing the music, thus enhancing the connections between listeners and their friends or other close relationships?

One point to note in this design is that,

The new service has to embed well and seamlessly with the rest of the Spotify app.

The whole project will be guided by the three design implementations drawn in M2.1, and through the exploration and design of the following three directions, a complete design solution for a commercially approachable music sharing service for streaming platforms will be finally integrated.

1) CONDUCT VISUAL EXPLORATION AND INTERACTION DESIGN OF THE PHYSICAL PRODUCT AND THE SPOTIFY INTERFACE, WHICH WILL IMPROVE THE WAY SHARED MUSIC MESSAGES ARE PRESENTED TO USERS.

2) DESIGN AN APPROPRIATE FEEDBACK MECHANISM, TO PROVIDE USERS WITH A SIMPLE, EFFECTIVE, AND INTERESTING WAY TO ENCOURAGE THEM TO GIVE FEEDBACK ON THE SHARED MUSIC.

3) FOCUS ON THE CORRESPONDENCE BETWEEN THE PHYSICAL PRODUCT AND THE STREAMING PLATFORM TO PROVIDE A COHERENT AND COMFORTABLE EXPERIENCE FOR THE USER.

(Use the same interactive/visual features to design the physical and app interface; Take care of every steps, when a user performs an action on one side of the product or app, the other side should display the corresponding reasonable feedback)

DESIGN FOR SPOTIFY

As the core of the FMP project is to design a system for Spotify that helps enhance the users' music sharing experience, it is important to analyze the Spotify brand, design philosophy, and design language. This section serves as an overview of the Spotify brand analysis, which will be examined in more depth when the project begins next semester.

5.1 SPOTIFY'S DESIGN LANGUAGE

Visually, Spotify has created the Spotify for Developers platform and provides developers with a set of Design Guidelines that provide design specifications for logos, colours, fonts, and other content.

5.2 SPOTIFY'S MUSIC SOCIALIZATION EXPLORATIONS

-NEW WAYS TO SHARE MUSIC THROUGH SPOTIFY

Through social media platforms - Except from copy link, there are other ways...

Spotify is an international music streaming service launched in 2008 and based in Stockholm, Sweden. It was founded with the intention of helping to solve the problem of music piracy through streaming technology. So far, Spotify has grown into an audio first company and has become the most popular audio streaming subscription service throughout the world. The official mission of Spotify is“to unlock the potential of human creativity—by giving a million creative artists the opportunity to live off their art and billions of fans the opportunity to enjoy and be inspired by it.[7]”

With the development of Spotify's streaming platform and the associated growth of their business, their design team introduced new design guidelines in 2020: Relevant, Human and Unified, in anticipation of consistently high design quality in the rich and diverse music experiences they create [8].

Through social media platforms

Promo Cards

Get unique links for personalized editorial playlists

These two are the functions still at the test stage, but the exploration of designing for a Social Listening Experience just begins.

There are more possiblities in the future...

Spotify Blend Group Session Beta

Instagram Stories/ Facebook Stories/ Snapchat Share your Canvas to Instagram Stories

Scannable Spotify Codes

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06

PROJECT MANAGEMENT

6.1 PROJECT APPROACH

As is mentioned in section 02, that the main goal of my FMP project is to design projects that can reach the commercial standard, the entire design process will be guided by the commercial-oriented Design Thinking method proposed by IDEO [30]. The world of streaming media is becoming increasingly interconnected and complex as dematerialization allows information to flow more freely through physical barriers [9]. In this environment, the Design Thinking approach can help us better understand and respond to the complex behaviour of users and changes in the environment.

The planned FMP design process mainly draws on the five-stage design framework provided by the Design Thinking method:

1. Empathize, 2. Define, 3. Ideate, 4. Prototype 5. Test. This is a process of iteration and refinement rather than a linear progression [4]. In conjunction with the research work that has been completed in

the M2.1 project that will contribute to the FMP, the tasks for each phase have been slightly adapted, and the process has been extended to six stages. The overall design direction is still based on Design Thinking's human-centered design philosophy and iterative design approach.

In particular, much of the work in the first phase, Empathize, will be based on the findings of the two user studies in the M2.1 project, with some additional research and analysis. The subsequent focus of the project will be on the three phases of define, ideate and prototype. Ultimately, it is expected that a commercially viable design output will be produced and evaluated through user testing.

The specific plans for each phase and the design and research methods that may be applied are presented in Project Planning section.

6.2 ENVISIONED OUTCOMES

In terms of the design goals of this project and the design challenges that were focused on during the final design phase, there were two main design outputs that were hoped to be achieved.

1) A complete design of the music sharing experience, including a physical product that meets market standards for mass production, an app and web interface design for Spotify's music sharing functionality, and an integrated commercial value canvas.

The physical model should be at least 3D-modeled and rendered, and a 1:1 physical model should be created, using intended materials or similar alternative

materials. On a technical level, the model should implement most of the expected functionality for better presentation and user testing.

The design of the app and web interface should be completed with at least a highfidelity model, with the expectation that some of the interactions can be displayed for user testing with the physical model.

2) Through reflecting on the design iteration process and the final analysis of the user testing of the prototype, general insights should be obtained that can contribute to the future design and research of music sharing experiences.

Fig.12

6.3 PROJECT PLANNING

I will complete the FMP project from six phases, the detailed information is provided in the following 4 pages.

PHASE 1-EMPATHIZE

Spotify. The three main areas of brand analysis are: 1) general knowledge about Spotify's business and product development; 2) the projects Spotify has done and is still experimenting with in terms of social aspects of music;

Phase 1

Empathsize: User study (interviews)

Phase 2

Define: Brand analysis (online research& interviews)

Phase 3

Phase 4 Prototype: Low-Fi prototypes, redesign through sketching

DELIVERABLES

Phase

1) The results of the user research will help me to create a user journey map of Spotify music users' social behaviour in music, which summarises the needs Spotify users expect to meet in terms of social aspects of music and the barriers they currently encounter.

PHASE 2-BRAND ANALYSIS & DEFINE

Given that Business & Entrepreneurship will be one of my areas of expertise this semester and that the product will hopefully be commercialized in conjunction with the streaming music platforms represented by Spotify, I will conduct a detailed brand analysis of

3) analysis of Encore, Spotify's new design approach to design systems. Based on this, I will try to contact two UX designers and researchers within Spotify via social media platforms to book an in-depth focus interview in order to: 1) gain deeper insights into Spotify's business model, interaction design concepts, and future trends in social listening exploration; 2) gain insights from two internal UX practitioners on Music Linker and possible design directions that would allow Music Linker to be integrated with Spotify. However, the implementability of this session will depend on the negotiations with the two designers once a formal engagement has been secured.

These works will help me refine the scope of the project, based on the FMP proposal and the degree of completion of the M2.1 design project, as well as obtain contextual support for the commercial and marketing direction.

DELIVERABLES

1) Define specific design goals and design directions based on the results of the brand analysis, combined with insights from the previous phase of user analysis.

2) A framework for music sharing experience design based on Spotify's basic functionality, including the interactive aspects of the physical product as well as the interaction flow of the corresponding App and web

PHASE 3- IDEATION

First, invite Industrial Design students and relevant design practitioners to a small-scale workshop to brainstorm large quantities of ideas.The workshop will be divided into three sessions to discuss and exchange ideas on:

1) the analysis of the results of the user testing of the initial model of Music Linker;

2) the user journey map obtained in Phase 1; 3) the design direction and interaction framework derived in Phase 3. Based on the insights gained from the workshop, I will discuss with my coach Joep Frens to select the most suitable ideas to complement and improve the interaction framework for music sharing generated in Phase 2.

During this process, I will also collect images or designs related to music sharing experience to create a Mood board that will serve as inspiration for the next phase of project development

DELIVERABLES

1) A quantity of sketches and storyboards

2) A well-developed interactive framework for music sharing experience based on Spotify

3) Mood board

design concepts generated from Phase 2, I will create some low-fidelity prototypes to do some simple user testing and gain insights into size, shape, and interaction, which will be used to improve the design through sketching and building 3D prototypes. In this session, I will repeat the steps of quick user testing, sketching, building low-fi prototypes, and creating renderings to continuously refine the design. For the part of corresponding Application design, I will first refine the interaction flow and create a low-fidelity mock-up of the music social functions. Then I will conduct a simple user test by creating simple interfaces out of cardboard.

In addition to this, I will also be learning and exploring CMF related knowledge. By refining the inspiration gathered from the Mood board, I will choose the right colours and materials to design and test, in order to provide a more comfortable audio product for the user, both visually and tactilely.

DELIVERABLES

1) A quantity of developed sketch concepts and low-fidelity models

2) Iterated final concept sketches and 3D renderings

PHASE 4- PROTOTYPE

This is a period of experimentation and iteration. For the physical end of the product, based on the developed

PHASE 5- REALIZING FINAL DESIGN

In order to gain valuable insights during the user test and to present the model better during the demo day, the final physical model is intended

to be as close as possible to the rendered image in terms of visual appearance and to realize as many interactive actions as possible. During the prototyping process, the exact dimensions and structure of the model will be adjusted according to the available electronic components. As far as possible, the models will be made of pre-defined materials or similar alternative materials. For the App side, the first priority is to produce a visually appealing high-fidelity model. With time and energy to spare, I will learn more about Figma and try to create some basic interactive functions. In addition to this, I will be working on a Business Model Canvas after integrating the related marketing, technical, and material requirements.

DELIVERABLES

1) Functionally realized physical prototype.

2) High-fidelity interfaces on the App side

PHASE 6- FINAL DESIGN

EVALUATION & PRESENTATION

The methodology used for the new generation Music Linker user test is a qualitative experiment with a small sample size conducted through Lab. Approximately 6-10 participants will be recruited to test the physical product as well as the app of the new generation Music Linker. The laboratory is going to be set up as a home environment.

The experiment will include several small tasks to imitate the real usage context and will be conducted using the Think Aloud method. Participants will be asked to describe in detail their thoughts and feelings during each action, through which I will record their performance via photographs and audio recordings [5]. This method will give me better insight into the user experience when interacting with the product and is suitable for experiments with a small size of sample [31]. The test will be conducted in strict compliance with the Ethical Review Board (ERB) (Appendix C) from the Industrial Design department. All participants are supposed to read and sign the Consent Form with details of the test procedure, data collection, and privacy protection prior to the test. The data generated from the experiment will be analyzed using Thematic Analysis to summarise people's thoughts, usage, and feelings about the new Music Linker model. These insights will be further discussed and distilled into insights for future design and research into the direction of the social aspects of streaming music.

Ultimately, I will deliver a demo video of the product, prepare and set up for the demo day, and complete the FMP design report.

DELIVERABLES

1) Demo day presentation

2) Design report

3) Portfolio

07 SPEAKER MUSIC LINKER 1.0 MUSIC LINKER 2.0

ACCESSORY TO HELP SHARE MUSIC

Based on the feedback received from M2.1, the main aesthetic and interaction features of the Music Linker 1.0 (extracted from the Cupcake Hearing Game) were widely appreciated during the user testing and demo day demonstrations, which also provided many useful insights. Thus, they will be used in subsequent physical product designs.

During this process, many suggestions for improvement were also received, especially as most of the audience expected the product to be used as a sound system of itself. Therefore, the physical product side of Music Linker 2.0 will be designed as an integrated speaker with music sharing features, rather than as an accessory to a sound product. In addition, its specific appearance and corresponding structure will also be redesigned based on user feedback.

After defining the general direction of the Music Linker 2.0 physical product, I built a simple interaction flow combining the physical product and the Spotify App as the basic framework for the subsequent design. This structure was based on the physical interaction flow of Music Linker 1.0 and the analysis of market research and interviews conducted for the M2.1 project. By reorganizing these two elements and combining them with the three design directions identified in the design challenge section, I have designed this new interaction flow.

Compared to the interaction flow in M2.1, the new interaction flow has three enhancements:

1) COMBINING THE PHYSICAL SIDE WITH THE ONLINE APPLICATION SIDE TO CREATE A MORE UNIFORM SYSTEM

2) THE DESIGN OF A USER FEED-

BACK MECHANISM HAS BEEN ADDED, WITH THE EXPECTATION THAT IT WILL PROVIDE A SIMPLE AND EFFECTIVE FEEDBACK AVENUE FOR USERS.

3) COMBINED WITH THE USER INTERESTS AND EXPECTATIONS FOR LIGHT INTERACTION GATHERED IN THE M2.1 FINAL USER TEST, MORE ASPECTS OF LIGHT INTERACTION WILL BE ADDED. THEY ARE INTEGRATED THROUGHOUT THE PROCESS AND ECHO THE FEEDBACK FROM THE ONLINE APPLICATION SIDE.

The framework is currently only a very early prototype of an interaction flow, and more details will be added to make it a complete interaction flow following the brand analysis of Spotify and the new round of user research in February.

RISK MANAGEMENT

1. As described in Project Planning, during the brand analysis phase I will attempt to invite two internal Spotify designers and researchers to conduct in-depth focus interviews, the implementability of this session will depend on the negotiations with the two designers once a formal engagement has been secured.

If interviews are not possible, I will focus on brand analysis based on secondary research on Spotify via the internet, as Spotify's official website explains each of its services and design philosophy relatively well, and the main purpose of trying to contact Spotify's internal practitioners is to understand The main purpose of contacting people within Spotify was to understand the possible future exploration of music sharing features and design directions for Spotify.

2. The implementation of the final physical model will depend on the available electronic components as well as the materials, and if the ideal materials are out of reach, similar alternative materials will be

REFERENCE

[1] Diana Boer. 2009. Music Makes the People Come Together: Social Functions of Music Listening for Young People Across Cultures. (2009). Retrieved December 21, 2022 from http://researcharchive.vuw.ac.nz/ handle/10063/1155

[2] Rikke Friis Dam. The 5 Stages in the Design Thinking Process. The Interaction Design Foundation. Retrieved January 8, 2023 from https://www.interaction-design. org/literature/article/5-stages-in-the-designthinking-process

DOI:https://doi.org/10.26986/d.cnki. gcdlc.2021.000736

[9] Dematerialization - an overview | ScienceDirect Topics. Retrieved January 10, 2023 from https://www.sciencedirect. com/topics/engineering/dematerialization

[10] Why is vinyl making a comeback?

- Reader’s Digest. Retrieved December 25, 2022 from https://www.readersdigest. co.uk/culture/music/why-is-vinyl-making-acomeback

sought as far as possible.

In terms of electronics, the Wizard Method [3] can be incorporated in the final presentation as well as in the user test section, taking into account the limitations of my programming skills. This method allows the designer to control the back-end system to make the desired interaction with the user's behaviour and thus help the user better experience the product when it is not possible to implement the functionality of the model.

3. For the interface design part of the streaming platform, I will do my best to complete the design of the high-fidelity prototype, as I have no prior knowledge of interface design. The implementation of interactions between interfaces, such as switching, will depend on whether I have the time and energy to learn enough about Figma during the semester.

If this is not possible, I will provide the interface in the form of printed cards for user test.

[3] World Leaders in Research-Based User Experience. The Wizard of Oz Method in UX. Nielsen Norman Group. Retrieved January 9, 2023 from https://www.nngroup. com/articles/wizard-of-oz/

[4] C. Dominik Güss. 2018. What Is Going Through Your Mind? Thinking Aloud as a Method in Cross-Cultural Psychology. Frontiers in Psychology 9, (2018). Retrieved January 8, 2023 from https://www.frontiersin.org/articles/10.3389/ fpsyg.2018.01292

[5] Paolo Magaudda. 2011. When Materiality ‘Bites Back’: Digital Music Consumption Practices in the Age of Dematerialization. Journal of Consumer Culture - J CONSUM CULT 11, (March 2011), 15–36. DOI:https://doi. org/10.1177/1469540510390499

[6] Stephen Voida, W. Edwards, Mark Newman, Rebecca Grinter, and Nicolas Ducheneaut. 2006. Share and share alike: Exploring the user interface affordances of file sharing. DOI:https://doi. org/10.1145/1124772.1124806

[7] Naomi Ziv and Revital HollanderShabtai. 2022. Music and COVID-19:

Changes in uses and emotional reaction to music under stay-at-home restrictions. Psychology of Music 50, 2 (March 2022), 475–491. DOI:https://doi. org/10.1177/03057356211003326

[8] Qin Yali. 2021. Research on Socialization of Mobile Music Platforms. Master. Chengdu University of Technology.

[11] Spotify — About Spotify. Spotify. Retrieved January 9, 2023 from https:// newsroom.spotify.com/company-info/

[12] Introducing Spotify’s New Design Principles. Spotify Design. Retrieved January 9, 2023 from https://spotify.design/ article/introducing-spotifys-new-designprinciples

[13] Design Thinking. IDEO U. Retrieved January 8, 2023 from https://www.ideou. com/pages/design-thinking

[14] Think aloud study: qualitative studies. GOV.UK. Retrieved January 8, 2023 from https://www.gov.uk/guidance/think-aloudstudy-qualitative-studies

Visual contents:

Fig.1 at page 8:

https://newsroom.spotify.com/media-kit/ logo-and-brand-assets/

Fig.2 at page 8:

https://artists.spotify.com/blog/all-the-waysto-share-your-songs-on-socials-from-spotify

Fig.3 at page 9:

https://developer.spotify.com/ documentation/general/design-andbranding/

Fig.4,5,6,7,8,9,10,11 at page 8: https://artists.spotify.com/blog/all-the-waysto-share-your-songs-on-socials-from-spotify

Fig.12 at page 11:

https://www.interaction-design.org/literature/ article/stage-5-in-the-design-thinkingprocess-test