Artefact Cards Blog

Global Grid Testing: Argentina & Brazil

Posted 1 July 2014 by John Willshire

We launched the Artefact Cards Global Grids last week, a set that was initially inspired by the World Cup, but then morphed (as these things tend to around these parts) into an exploration of how the different grid and pattern styles common in the idea creation stages of different cultures can change how we think, and make, ideas.

As always, though, I don't think you can really know what something is truly for, or how it works, until you play around with it. Thinking with your fingers, let's say. So I took delivery of the first boxes off the line at the weekend, and all this week (and possibly next) I'll be testing them out, and recording what happens here. It's hard, of course, to objectively evaluate your own working method, but I can heartily recommend trying.

Yesterday, I was using two different sets in a series of client interviews, to note down and describe different things as they occurred in conversation.

I've always used drawing to help explain what I mean (the major benefit of a background in Economics perhaps), and nowadays with the cards that's just easier to make these little drawings come to life in conversations; they become commmunal things on the table, rather than things jotted in one person's notebook.

Anyway, to the grids; how did these two packs influence the way I worked?

First up, Brazil:

The design on these is quite left-field (which is what happens when you design them with someone who's four and three-quarters - see the product page for more on that). The yellow side is more subtle, but when you see them in real life, it looks like you're staring down on the top of a pyramid.

Because it's quite subtle, I found that I could just use it as a standard card whenever I wanted too, but in doing that it seemed to 'pop' a bit more. I don't know if it's the three-dimensional aspect lending it more presence, or just the feeling that it feels more 'designed', but it's really pleasing either which way.

I also found myself occasionally going with the lines, rather than ignoring them, to explore the relationship between two different things. For future designs though, it feels that for this to work properly, I'd need to replicate the top left corner in the bottom right.


The green side of the cards are different, more leading. Based on the Brazilian flag, the card is neatly segmented into a centre and four corners. You can of course use it as a normal card, and it just acts as a background to the words and pictures again. It's a little less subtle and pleasing than using the yellow side for that though.

Where the green side really comes into its own is as a directional device to separate central themes into four sections, or group four ideas under one heading. I found myself sweating ideas a little bit harder, trying to work out what the fourth part might be, or what things might be brought under one banner. It's a devious little nudge (and an unintended one, I have to admit), but it just pushes your brain a little more.

Of course, you have to wath out you're not just forcing it for the sake of it, but all in all, I'm really pleased with what it seem to do.It seems to work having a subtler, 'all-purpose' side, and a more pronounced side with might be for something. Will wait for feedback from other users to see if they find the same.

The second pack I tried out was Argentina:

Now, the blue side was a reprise of the Ice Blue Grid pattern from Winter 2013, but this time around it's a slightly darker blue, for two reasons.

Firstly, it's more in keeping with the Argentian colours (a lovely blue in its own right). Secondly, we've established (in making cards for the last two-plus years) that how much ink you put on them makes a structural difference to the cards. If a colour is too light, it needs less ink to guide it away from the white card, and so the card feels flimsier. Just, but enough. Tina spotted this first; thanks Tina.

Anyway, it turns out I really like the new blue. The black sharpie still punches out nicely on it, and the thin white graph offers even more guidance than before (by increased contrast). Looking back at other cards I've made recently, I can instantly see not just the effect that the graph has on the drawings, but also on the sizing and spacing of letters and words.

Things just tend to end up the same size, equally balanced with each other. I guess it'd really help people who're less usre about drawing and writing well on the cards. It also makes you feel that you're working in a way that is a bit more scientific; on the one hand, that's a bit daft and irrational, but on the other to be completely expected I guess, as we're all a bit daft and irrational.

As much as I like the blue side though, I'm in love with the orange graph, inspired by Argentinian papel milimitrado.


Using a light coloured graph on a white background is something we've not done before, and if anything it produces more punch than the blue cards. I ended up using blue graph for headers, and orange graph for content, as I could still write and draw relatively small, yet retain stand-out. Additionally, every small box is a millimetre long, and thus every larger box is a centimetre. So it's a nice impromptu ruler as well, should you need it.

Another lovely aspect was the effect of the pen on the card as I drew lines across it. I could feel the pattern of the graph under the pen, which I hadn't expected at all; imagine a tiny version of drawing on corrugrated card as a kid.

It was funny how the sensation connected me more to the cards, I'm struggling to fully explain it perhaps, but there was more of a sense of 'thereness'. Perhaps will live too much of our working lives on smooth glass surfaces now? Dunno, again it's one to see what other people feel when using them.

One added benefit of using graph became apparent; it makes you more likely to idly play with the cards, and move them around, as you start lining up the graph boxes on different cards at different angles and positions (especially, if like me, you can find yourself prone to idle pattern making or what might even be mild OCD).

The graph makes you move the cards around, but in doing so, inadvertently brings you to new combinations of the ideas on the cards. The abilty to continually move around and play with cards is fast becoming the most popular reason people reference when i ask what they love about them.

Anyway, that's it so far. The Global Grid boxes start shipping this week, and if you've already ordered or plan to, I'd love to hear from you (email here) on how you find the cards make your work differently, either in comparison to normal Artefact Cards or just in general for your working practice.

More testing results later this week.

Posted in Artefact, Artefact Cards, artefactcards, blank cards, brainstorms, cards, design, drawing, gamestorming, Interview, play, thinking, UX, UXcafe, visu, visual thinking, vizthinking, We Are Aqueduct, wireframing, workshops

Artefact Interview - John Maeda

Posted 20 May 2014 by John Willshire

I'm utterly thrilled to kick off our next series of Artefact Interviews with John Maeda

John is a Design Partner at Kleiner Perkins Caufield & Byers and previously served as the 16th President of the Rhode Island School of Design from 2008 to 2013. He was Professor and Associate Director of Research at the Massachusetts Institute of Technology (MIT) Media Laboratory from 1996 to 2008, and a researcher and software engineer at the International Media Research Foundation from 1990 to 1996. He serves on the Board of Directors of Sonos, Inc. and Wieden+Kennedy, and he chairs the eBay Design Advisory Council. Dr. Maeda received a B.S. and an M.S. from MIT, an M.B.A. from Arizona State University, and a Ph.D. in Design Science from the University of Tsukuba Institute of Arts and Design in Japan. 


Hi John. In preparation this interview, I reread your 2006 book The Laws Of Simplicity. Is "achieving simplicity in the digital age" still a personal mission for you?

As with all things in life, it’s changed. At the time I wrote LOS, it was just at the moment when digital technology was outpacing our needs for what it can do. Yahoo! had fallen behind Google, but Google hadn’t completely won yet. The Apple iPod had just begun to take off, but the iPhone hadn’t arrived yet. And as one reader pointed out to me recently, I refer to using DVDs to watch movies – which is becoming an increasingly irrelevant reference. So with all the changes that have happened, my personal mission has changed. Quite frankly, I’m trying to figure out what that mission is right now, but what I’m certain of is that it isn’t just about simplicity.

So you've been off exploring in different directions?

Yes. I wrote a subsequent book to LOS entitled Redesigning Leadership. In 2008 after becoming a college president, I started to wonder about how large organizations are managed and led. LOS assumed the frame of the designer/maker who is able to control most or all aspects of his or her creative practice. A leader doesn’t design a product, but instead designs (and re-designs) a community – which is never a simple task. So I guess I now prefer complexity (= people).

As I went through the first three laws (Reduce, Organize, Time), I realised that these arguably form the basis of what I think makes Artefact Cards work. Perhaps this what drew you to the Artefact Cards, subconsciously or otherwise?

Starting a few years ago, I was already using cards because I felt that post-it notes were too constraining. I would buy packs of playing cards and stick post-it notes on their faces to draw on them. They were naturally pleasurable to shuffle, and I could use them to Organize content quickly. I was happy to find Artefact Cards as they were what I was really looking for.

Can you recall what train of thought took you there?

It was primarily because I needed to slide information around a table easier, and post-it notes didn’t do the job. Also, a post-it note is flimsy and over time becomes unusable due to wear.

My interest was specifically piqued by the SLIP method you describe (Sort, Label, Integrate, Prioritise).  Working hard at organising ideas properly once they're out is more than half the battle; paying attention to the way elements relate to others around then.  The SLIP method demands you work at things once they're out.  Do you still use it?

Yes, all the time. And now I can do it with Artefact Cards!

You highlight the importance of that which may be lost in the design process; the peripheral stuff that falls by the wayside at an early stage, and doesn't return. By having everything out on the table, your eye can be caught by something at the other side, you get that 'aha' moment as you connect two things together. I don't feel digital does peripheral vision very well, not yet at any rate.  Have you seen anything in the digital space that tries to address this?

I like that thought – that working with all the Artefact Cards at once allows for the periphery sense to be engaged. In my opinion, on-screen experiences can’t do this because the screen size is bounded. There’s always an edge to your peripheral vision. Yes, I know you can use scroll bars and zoomable spaces, etc. But there’s nothing like having a card slip off the edge of a table to remind you that there’s an entire floor to work on too, in addition to the table (smile).

Finally, it's 2014, and we still use a lot of paper, pens, sticky notes, Artefact Cards... can you see a time when other technologies replace these things.

I think that as long as we have a head attached to our bodies, we’ll always be able to use physical space – and want to live in it. Paper, pens, sticky notes are all artifacts of life. Or maybe they are all important artefacts, to use your word.


A million thanks to John for his time and thoughts. You can follow him here on twitter, and his Creative Leadership blog is currently one of my top reads every week. Currently, John's rocking the Mixed Colour set of Artefact Cards for Desk:



Posted in Artefact Cards, brainstorms, Design, drawing, gamestorming, John Maeda, play, visual thinking, Workshops

How To Design Card Games For Workshops

Posted 17 April 2014 by John Willshire

Using the Artefact Cards during workshops and brainstorms has always been great, but lately I've been trying to push the boundaries a little more on just how playful that can become. 

Specifically, I've been designing activities based on established card games, so that people don't just generate lots of ideas on cards, but continually play with them in new orders and combinations to explore possibilities. 

This helps make the most of all of the ideas generated in a workshop, a lot of which can end up languishing on unloved sticky notes on a wall, or scrawled on a flipchart page.  Rather than trying to make sense of these ideas after the workshop has ended, this approach helps make the most of every asset whilst you're all in the room together.

Here are some principles which have proved helpful in running sessions in this way - hopefully you'll find them useful, and if there are any more you've used or occur to you now, then please do add them in the comments below.


The Importance of Tables

The most obvious place to start is thinking about where you're doing the workshop, what the room is like, who's coming and so on. 

As opposed to standard workshops, in order for the card games you invent to work, you'll need to break people into groups of 4-6, and get them sitting around a table together when it's time to play.

The table becomes really important for groups as a communal space - once ideas are in the middle of tables, just like in card games they become open for anyone to play with, they're less about being the sole property of one person. 

It leads to a more collaborative, fast moving combination of ideas and elements.

It's also worth thinking about keeping those teams together for the duration, rather than mixing and matching.  Together, they'll build up knowledge of what each of the cards means, and any added associations the group develops for the deck they're playing with.  First thing they've got to do is make the deck they'll play with...


Generate, Then Play

Unlike sitting down with a pack of cards and playing a game, there is no pack yet, it has to be created.

Now, this can be done using any idea generation techniques that you're comfortable and familiar with that asks people to write ideas down on small piece of card or paper.  The aim is that in the middle of each table you'll have a stack of ideas that operates as the game deck for each group.

This is not to say that groups can't add to the deck as the session evolves - people can form new ideas that become interesting additions as they play between rounds, and that helps the variation in ideas too.  But as a first step, you'll want a table of four people to be sitting with a pack of 52 cards before playing.

It's also worth making sure you have enough variation with the deck of different sorts of things, and this is where it's handy to think of different ideas and elements as 'suits'...


Making Suits

The combination of different sorts of things will give groups much more chance of finding something interesting from the seemingly unconnected.  You don't have to be hard and fast about having exactly the same number of cards for each of the suits you make, but through the generation stage, you should be thinking about how to ask the groups to come up with different ideas across categories. 

Here are four example ones: Assets, Ideas, Customers & Heroes

- Assets is about the business itself - ask people to pick the three most interesting things they know about that organisation, or the three things that would surprise people the most, or the three stories that are least seldom told.

- Ideas could be the best work that's previously been done, the most compelling things that are on the table now, or the long term dreams that people have always wanted to make happen but haven't as yet.

- Customers is about the people who buy the product or services the company supplies, or even the people who don't yet.  It could be user stories, pen portraits, popular misconceptions held by people, or whatever other people believe the stereotypical user to be like.

- Heroes are the other businesses and brands that the company should learn from, and a specific angle from each - how they run their business, they things they do for customers, they way they create their products, the attitude they convey in communications etc.


These are just examples of course, but they give you an idea of the variety that you'd try to have in one deck. 

In order to generate these suits, take people through one exercise at a time, and once they've created their cards for each suit, ask them to quickly show and tell everyone else around the table their cards.

It doesn't matter if there are overlaps, of course - things that pop up more often could well be more important, so by having more of them in the deck, they get a chance to think about these areas more.

If you do want to find the extreme edges of each 'suit', there is a minigame you can play.  Ask people to make three cards for an area.  Then ask them to lay them down, one at a time. 

They're only allowed to play if the idea they're putting down hasn't been played by someone else.  Then the first person to play all three cards is the winner.  In the past, running through this game twice means you can quickly develop a really broad, nuanced map of a territory.

Once each group has a whole deck in the middle of the table, it's time to play...


Making Games

The games that you're going to make up as part of the workshop aren't going to be exactly like standard card games, of course. 

The cards and suits the teams have created don't have commonly fixed values, for instance. 

But instead, your aim in designing the exercises is to find ways in which people can take and combine different elements that they've generated before, and use them together to form new ideas. 

The way that these ideas are judged against each other can be very subjective, of course - think about the way the winners are picked in Cards Against Humanity for instance, or other similar games where the win condition is quite oblique (I'd like to include a quick thanks to James Wallis here, who first tipped me off to this concept on a sekret projekt we did together).

It's also worth thinking about what 'winning' actually means in your workshop...

Winning in these situations is about discovering previously unexplored ideas and connections as a group.  It's not really about who ends up with the most winning hands at the end of a game, but the ideas you discover together as you play the game.  Though that said, it's amazing to watch the natural, subtle competitiveness of people at play as people push each other into more and more wild ideas...

So, how do you go about designing a game for a workshop like this? 

Here are five useful principles to get you started...


i) Everyone is dealt a hand of ideas

You'll want each person to start with a randomised hand of cards, not just their own ones.  About 6 cards per hand works well.

Because the group have explained what the cards are as they go, there should be knowledge of what they all mean.  What works really nicely is that people are playing with each others' ideas.  Not only are you asked to look at someone else's ideas and build upon them, but by putting your ideas and observations in someone else's hands, it means that when you hear them played back to you in new forms which helps you think afresh.


ii) Design for combinations

What you want to do is create situations where people are asked to take a card from their hand, and combine it with either other cards in their hand, or other cards they can see on the table.  By asking people to make connection between things, they're more likely to come up with interesting new things.

For instance, you can ask people to combine three cards in their hand to describe a new idea for a business, or you could ask them to find the idea in their hand that best fits what has been played by a previous player.

A version that's worked well of this in the past is a turn based game - ask one person to play the 'client', and use three of their cards to define a problem their business has.  Then, ask the other players to solve this buinsees problem by using three of their cards to tell the story of how they'd approach it.  The 'client' then picks the best solution for their problem (and, of course, any useful real world ideas can be noted down, or even turned into additional cards to feed into the deck)


iii) The element of surprise

There are both simple and complex variants you can design around this principle.  At the more engineered end, using the 'hide and reveal' technique from games like Texas Hold 'Em means that players have to think quickly and carefully about the value of the cards that they hold in their hand, reacting to the communal cards on the table as they are revealed.  Think about how you can use cards that have already been created to let people play with the cards in their hands and react to circumstances.

Alternatively, a simple idea is to play 'pairs' (this can be done as groups, or on your own too) - turn all the cards upside down, then turn over two at a time.  Ask each player to come up with an idea based on those two cards.  The player who comes up with the best idea (according to the group) gets to win those cards.


iv) Taking Tricks

Tricks in card games are when a round is played, and somebody picks up those cards as marker for a 'point' won.  In this scenario, think about whather you want these cards to be removed from the game at this stage - if there is a winning idea each round, do you want to preserve it to refer back to later?

Alternatively, you can design games where people win the cards played on the table, and so have a greater hand from which to draw ideas in subsequent rounds.  This may not be as beneficial as it first seems, as once a player gets too many cards, they start to be swamped with possibilities, and can be tempted to stick to the same seemingly powerful cards which soon seem tired as ideas to other players who're judging.



v) Fishing for Ideas

You may well have played games like Go Fish or Happy Families before, where the aim is to ask question of the other players in order to get cards from their hand, in order to complete a set that you have.

With a deck cards such as these though, a straight copy of these games would be difficult, but the principle of asking something of another player, and recieving a card in return is interesting to play with.

Towards the end of the workshop session, get players to each put together a six card set that to them would represent the strongest idea the group has come up with.  Now let people choose one card from each other's hand blind, and go round the table once so that everyone has a slightly tweaked idea they have to present back to the group.

What will be interesting here is not just if the alien card improves the idea as set out (it may well not), but which component cards of the idea are strongest - through discussion, the group will discover which cards are the aces in the pack.



Hopefully this gives you some helpful ways to start thinking about using simple card game principles in workshops to play with ideas.  As I said before, would love to hear of any other builds and ideas, whether you've used Artefact Cards before or not - just drop them in to the comments section below.

Happy playing... and good luck.




If you want a good place to go for inspiration on card game rules, why not try here at Pagat.



Posted in Artefact Cards, artefactcards, boxes, brainstorms, card games, card sorting, cards, gamestorming, workshops

Dan Thomas on Card Sorting for UX

Posted 8 March 2014 by John Willshire

I'm delighted that Dan Thomas of Moov2 has shared with us his experience of using Artefact Cards for 'Card Sorting' in UX work... thanks Dan :)


Card sorting with Artefact cards
Card sorting is a popular UX exercise for planning and organising a website or application's IA (information architecture). It's a quick, low fidelity starting point to get an indication of content requirements and helps to organise and prioritise structure and navigation.

What is card sorting?
The basic premise is to catalogue representative content items onto individual cards and then task people to organise them into logical groups. This is best carried out by representative users and can be done either "open" or "closed". Open card sorting enables the team to define what they consider to be logical groups with which to organise the content whereas closed dictates the grouping and tasks users with associating cards to those groups. For more details of approaches to card sorting check this article on Boxes and Arrows or wikipedia.

One of the merits of card sorting is that it's a great collaborative exercise and can really help promote empathy within a team of mixed objectives and responsibilities. It also brings to the forefront of a project how involved and complex the content considerations might be. Something which is usually just assumed to be someone else's problem and not deserving of time and attention.

Why Artefact cards?
Despite the name, card sorting is often carried out using post-its or other similar scraps of paper as these are the resources typically to hand. Recently (and finally getting to the point) I had the opportunity to utilise a couple of sets of Artefact cards for such an exercise and it had a subtle but noticeable impact on the output. Using an unfamiliar, premium product seemed to trigger pause for thought and more care and attention when committing to writing on card.

A typical card sorting workspace can become cluttered and messy with a crumpled, scribbled and torn notes but with Artefact cards much more importance was seemingly subconsciously placed on the task. The glossy finish allowed cards to be passed around the design surface easily (much like dealing a new set of playing cards) and generally gave the exercise a more quality "feel".

These are subtle points and certainly a pack of post-its is a cheaper option but working with quality materials sets a good tone for working with a new project team. If something as simple as cards for note taking is given a plush feel then you're setting a good standard for the rest of your engagement.


Dan has been at the helm of Moov2, a digital technology agency (or “bunch of software geeks” to the buzzword averse) for more than a decade. During this time he has helped develop many web, desktop and mobile applications for the likes of Barclays, Hasbro and Mars. His focus of late has been closely following the exciting rise of HTML5 and its exorbitant influence on the modern web and device evolution.


Posted in Artefact Cards, card sorting, UX, UXcafe, visual thinking


Posted 9 January 2014 by

A new addition to the ever increasing army of cameras… a Logitech 930e on a gorrillapod tripod, for use as a portable desk projector for Artefact Cards.

A little brother to the desk camera.  First test run tomorrow.

JARVIS 2 Screen Shot 2014-01-09 at 20.44.20


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Posted in Artefact, Artefact Cards, blank cards, brainstorms, cards, visu, vizthinking, wireframing, workshops

Playful, And Something Up My Sleeve

Posted 28 October 2013 by John Willshire

I was honoured to talk at Playful last Friday, a brilliant conference in London run by Mudlurk.  The theme this year was 'Playing With Form', and I talked about "putting things in things", and how the language and concepts we've been brought up with in various fields don't necessarily work with 'internet boxes', as it were.

My slides are here, but more than ever I probably need to add narration, which I shall endeavour to do this week.


Playful 2013 - Putting Things In Things from John V Willshire


It was a great day, but don't just take my word for it - Frankie used some Artefact Cards to take sketchnotes from the whole day too, (below is an example), and Simon, Anjali and Heather have also been writing up their thoughst afterwards.

I'd also worked with Greg from Mudlark to design a light wee game for going aropund the conference, or indeed other conference and gathering spaces, called Seven Cubic Feet. 

We have a few left too, which may make it into the site here at some stage if anyone feels they missed out.


Now, you may be wondering what that is around the deck... well, it's the sleeve we've had, ahem, up our sleeve to go around the new box. 

Artefact fan Andrew pointed out that the new boxes were nice, but not ideal for him.  He tended to carry the packs around individually in his bag, and they'd end up falling out moreoften than not. Which, admittedly, isn't ideal.

User feedback like this is always ideal; precise use cases that you can go and test for yourself, and think of workarounds.  We've been playing around with the 'sleeve', like a matchbox skin to slide over the top of boxes as you carry them around.


It actually turns out to solve some other problems as well.  Firstly, we'd lost the place for branding we had with our old boxes - on the old box, we had a clean, stickered space on the front, like this one we did for The Do Lectures this year (picture by Jonathan Cherry):


Now, we've set up the sleeves so they can be printed digitally down at Keith's in Axminster, so we can do pretty short run branded kits again, which is great (just email me for now if you're interested in doing branded packs like this, I'm be setting up a new FAQ shortly about it, but until then will just answer any queries).

The other great thing about the sleeve is that we've made sure the notch is the same level off the ground so you can make a double-leg stand for the cards, if you wish:

All in all, the sleeve is looking like a total winner, so we're going to start including them on future packs from this week onwards.

(If you've already bought a box recently with the new pack style, but would like some sleeves for them, just give me a shout and we'll sort you out with some).


Posted in Artefact, Artefact Cards, artefactcards, blank cards, boxes, cards, design, invention, thinking

Superheroes, Origin Stories and Artefact Cards

Posted 3 October 2013 by John Willshire

My talk today from Best of Britannia, a show of the finest in British Design and Manufacturing.  It's about Origin Stories, both from the perspective of the retelling of Superhero stories, and the power of making things in Britain:


Superheroes, Origin Stories & Artefact Cards - Best Of Britannia 2013 from John V Willshire
We're also running a wee Artefact stall there over Thursday, Friday and Saturday, so if you're in the area (four minutes from Farringdon Station) then please pop in and say hello (we're on the second floor):

Posted in Artefact, Artefact Cards, artefactcards, batman, batman begins, blank cards, brainstorms, cards, design, drawing, man of steel, superhero, superman, visual thinking, workshops